In pursuit of heavenly harmony : paintings and calligraphy by Bada Shanren from the estate of Wang Fangyu and Sum Wai

n Pursuit of Heavenly Harmony Paintings and Calligraphy by Bada Slianren

from the Estate of Wang Faugyii and Sum Wai

n Pursuit of Heavenly Harmony

Paintings and Calligraphy hy Bada Shanren
from the Estate of Wang Fangyu and Sum Wai

The celebrated Chinese artist Bada Shanren (1626-1705)
was born into a branch of the Ming dynasty (1368-1644)
imperial family that was known for its literary and artistic
accomphshments. When the Ming dynasty fell in 1644, Bada
fled his hometown of Nanchang, Jiangxi, and took refuge in
a Buddhist temple, where he remained as a monk for more
than thirty years and soon rose to the position of abbot.
During this period, he painted and wrote calligraphy under a
variety of Buddhist names — Xuege, Chuanqi, Ren'an, Fajue,
and Geshan. In the early 1680s, the artist returned to the sec-
ular world, married briefly, and began landscape painting for
the first time. In 1684 he started writing and painting under
the pseudonym Bada Shanren, becoming one of the most
prominent individuaUst painters of the early Qing dynasty
(1644-1911).

Bada Shanren developed an idiosyncratic visual vocabu-
lary fiiU of personal symbolism and artistic gesture that has
made his deceptively simple works endlessly intriguing. While
his spontaneous, almost abstract, brushwork may appear play-
ful, many paintings also reveal a troubled psychological edge
to his character and an innately dark oudook on his own for-
tunes and the condition of the world at large. Three hundred
years later, Bada's works continue to exert a powerful influ-
ence on many modern and contemporary Chinese painters.

With essays by renowned Chinese art historians Joseph
Chang and Qianshen Bai, this compelling and lavishly illus-
trated presentation of Bada Shanren's works — bequeathed to
the Freer Gallery of Art by Shao F. Wang from the collection
of his parents. Professor Wang Fangyu and Sum Wai, and also
acquired through the generosity of the E. Rhodes and Leona
B. Carpenter Foundation — offers fresh insight into the mys-
terious Hfe and works of Bada Shanren. The central catalogue
of Bada's works, luxuriantly designed with many life-size
reproductions, details the significant features of each artwork
along with annotated translations of all texts and calligraphy
by the gifted translator of Chinese Hterature, Stephen D. AUee.
This new volume brings this elusive subject to Hfe for a wider
general audience than ever before. From an exploration of the
artist's biography and his style as an artist to a sumptuous pres-
entation of his engaging works. In Pursuit of Heavenly Harmony
reveals the unique world of this esoteric artist through an
exceptional collection of works that have made the Freer
Gallery of Art the most important center for the study and
exhibition of Bada Shanren's ouevre outside the People's
RepubHc of China.

n Pursu itofH eavenly Harmony

n Pursuit ot Heaven y Harmony

Paintings and Calligraphy by Bada Slianren
from the Estate of Wang Fangyu and Sum Wai

JOSEPH CHANG AND
QIANSHEN BAI

Freer Gallery of Art
Smithsonian Institution
Washington, D.C.
in association with
Weatherhill, Inc.

CATALOGUE
STEPHEN D. ALLEE

IVaii^^ F<jn}^y!i ^iid Siiiii Uiii,

C 20(13 Snuthvom.in Institution
All nghfi ieser\ed.

Published by the Freer Gallery of Art, Smithsonian
Institution, Washington. D,C., in association with
WeatherhiU, Inc.

HEAD OF PUBLICATIONS Lyiine Shaner
EDITOR Ciil Spilsburv
DESIGNER K.ite Lvdon

COVER Li/.if /■/diiH; and Cdlligmpliy. 1690,
cat. entry p. 4.^.

ENDPAPER Deail, Rubbing of the "Holy Motlior

Mamisaipt," 1698. cat. entry 17, p. 93.

HALf. TITLE PAGE Detail. LlU Fhnra> and

Ciilligwphy. I(.90. cat. cntr\ 3. p. 43.

TITLE PAGE Detail. Lddi.i, ca. 1665. cat. entry 1,

p. 33.

PREFACES Detail. Lyh1>oipc afior Ni Zaii.
ca. !703-l7().S. cat. entry 33, p. 141.
CATALOGUE DIVIDER PAGE Detail, fjUing Bower,
ca. 1692. lat. entrv 5. p. 46.

CHINESE DOCUMENTATION DIVIDER PAGE Detail,
Satpmic o! the liiihi ('/ rlic^'oHoir Coin!,

1684, cat. enti N' 2, p. 39,

APPENDICES DIVIDER PAGE Detail, Loliis Olid
Diicki. ca. 169(1, cat. entr\- 9, p. 67.

NOTE Dimensions are given in centimeters; height
prcL edes width precedes depth. All catalogue entries
are by B.ida Shanren (1626- i70-S).

Library ot Congress Cataloging-in-Pubhcation Data

Chang, Joseph,

In pursuit of hea\ eni\ harinc^n\ : paintings and
calligraphy by Bada Shanren / by Joseph Ciiang and
Qianshen Bai; catalogue by Stephen D. Alice,
p. cm.

1, Zhu.Da, 1626-]705--E>;hibitions. 2, Calligraphy
Chinese— History— Mlng-Qing dvnasties, 1 368-1912-
-Exhibitions. 3. Wang.

Fangyu, 1913- 1997 —Art collections— E.xhibitions.
4. Sum.Wai-Art

collections — E.\hibirions. 5. Calligraphy — Private
collections— Washington, D,C,— Exhibitions. 6.
Calligraphy— Washington,

D.C. — E.xhibitioiis. 7, Freer Gallery — Exhibitions, I,

Zhu.Da, 1626-1705, II. Bai. Qianshen. HI, Alice,

Stephen D, IV, Title.

ND14,57,C56 Z4.S3 2003

745,6'1995r092-dc21

2002012387

Printed m Chin.i

(04-^

BOARD OF THE FREER AND SACKLER GALLERIES

Mrs. Hart Fessendeii, Ciiaif of the Booni

Mr, Richard M, Danziger, IViT Chtiir of llic Bo.iid

Mr, Jeffrey R C"uiiard

Mrs, Mary Patricia Wilkie Ebrahimi

Mr, George J, Fan

Dr, Robert S. Feinberg

Dr, Kurt A. Gitter

Mrs. Margaret M. H.ildem.m

Mrs. Richard Helms

Mrs. Ann R. Kinney

Mr. H. Christopher Luce

Mrs. Jill Hornor Ma

Mr. Paul G. Marks

Ms. Ehzabeth E. Meyer

Mrs. Constance C. Miller

Mrs. Daniel P. Moynihan

Mr. Frank H. Pearl

Dr. Gursharan Sidhu

Mr. Michael R. Sonnenreich

Mr. Abolala Soudavar

Professor Elizabeth ten Grotenhtiis

Mr. Paul F Walter

Ms. Shelby White

HONORARY MEMBER
Sir Joseph Hotung

4^

t ^ Smithsonian

Freer Gallery of Art

Contents

vi FOREWORD

JULIAN RABY

vii ACKNOWLEDGMENTS

JOSEPH CHANG

ix PREFACES

SHAG WANG
ROBERT ELLSWORTH
C. C. WANG

xviii MAPS

1 THE LIFE AND
PAINTING

OF BADA SHANREN

JOSEPH CHANG

13 THE CALLIGRAPHY
AND SEALS
OF BADA SHANREN

QIANSHEN BAI

29 CATALOGUE

STEPHEN ALLEE

167 CHINESE

DOCUMENTATION

181 APPENDICES

182 SIGNATURES
1,S4 SEALS

186 CHRONOLOGY

187 GLOSSARY

!')() BIBLIOGRAPHY
I'll, CONCORDANCE

198 INDEX

Foreword

THE SEVENTEENTH CENTURY WAS
one ot the most eventtul and traumatic
periods in the history of China. The tirst
halfot the century witnessed the irre-
versible deterioration and collapse ot the
last native Chinese dynasty, the Ming
(1368-1644), and the subsequent invasion
and conquest ot C'hina by Manchu torces
from the northeast, who established the
Qmg dynasty (1644-191 1) in its place. The
second lialt ot the century saw the Manchu
conquerors consolidate the territory and
institutions ot their new empire and move
towards a political and cultural reconcilia-
tion with the Cdiinese people they now
ruled. These events had a profound impact
on tlie lite and art ot Bada Shanren
(U)2()- 1705), a descendant of the Ming
imperial house and one ot the most
celebrated Chinese artists ot the period.

Bada Shanren won the praise and admi-
ration ot his contemporaries primarily as a
calligrapher, and calligraphic techniques and
the manipulation ot brush and ink were also
the touncluion ot his approach to painting.
As a painter, he cieveloped an idiosyncratic
visual vocabulary tuU ot personal symbolism
and artistic gesture that make his deceptively
simple works encllessly intriguing. The lack
ot ornament and seemingly guileless inno-
cence ot Bada's paintings appeal to the mod-
ern eye, but while his spontaneous, almost
abstract, brushwork may appear rather play-
ful, many paintings also reveal a troubled
psychological edge to his character and an
innately dark outlcwk on his own fortunes
and the condition ot the world at large.
Three hundred years later, Bada's works con-
tinue to exert a powerful influence on many
modern and contemporary Chinese painters.

Wang Fangyu (or Fred Fangyu Wang,
1913- K/^y), who taught Chinese language
tor many years at Yale University, was the
foremost collector and one of the most
prominent modern scholars of painting and
calligraphy by Bada Shanren. Together with
his wife. Sum Wai (1918- 1996), he devoted

much ot his private life to the collection and
study ot Bacias lite and art, focusing almost
exclusively on this artist for more than halt a
century. Prior to his demise. Professor Wang s
was the most comprehensive private collec-
tion ot calligraphy anci painting by Bada
Shanren anyAvhere in the worki.

Through the kindness and generosity
ot Wing Fangyu s son, Mr. Shao F. Wang,
the Freer Gallery of Art was selected as the
penn.inent repository tor twenty paintings
and works ot calligraphy by Bada Shanren
that Professor Wing haci personally
identified as the core ot his collection.
Thanks to the generous financial support
of the E. Rhodes aiui Leona B. Carpenter
Foundation, in 1998 the Freer was also able
to purchase twelve additional works ot
calligraphy and one painting by Bacia
Shanren from Wang Fangyu s estate. These
accjuisitions were facilitated by the support
and encouragement ot the important New
York art dealer Mr. lUobert H. Ellsworth,
who was both a student and a longtime
trienci of Professor Wang. The following
year, Shao Wang also donated his fathers
research archives, comprising some nineteen
hundred items, to the archives and slide
library of the Freer. The quality and
significance of these works ot art, comple-
mented by Professor Wang s research mate-
rials, have made the Freer Gallery ot Art the
most important center for the study and
exhibition of Bada Shanren's art outside the
Peoples Republic of China.

It IS our hope that the publication
of this catalogue will provide a thanks and
memorial to Professor Wing Fangyu in the
manner he would have most appreciated —
by making accessible to a broader public
the art and personality of Bada Shanren.

JULIAN
DIREC TOR

FREER GALLERY OF ART AND

ARTHUR M. SAUKI ER t;AI LERY
SMITHSONIAN INSTITULION
WASHINUTOiN, D.C:.

Acknowledgments

BADA SHANREN ( I (,2(> - I 705 ) , A N
eccentric monk-painter ot late seventeenth-
century China, has twice been the tocus m
recent years ot major exhibitions and
scholarly symposia, first in China and then
111 the United States, hi October 1986, the
Symposium to Commemorate the 360th
Anniversary ot Bada Shanrens Birth was
organized in Nanchang, the artist's home-
town; and in 1991, die Yale University Art
Museum held the exhibition, I\Iai(cr of the
Lotus ( jHidcii : flic Life diid Ai t of Bada
Stmiircii, and alscT published an accompany-
ing bc)ok ot the same title.

Although I was unable to attend the
1986 Nanchang symposium, I wrote a study
on Badas landscapes and sent it to Professor
Wiing Fangyu ot Yale University tor his
comments, which were very encouraging.
That was how we became accjuamted, and
tor the next ten vears, Protessor Wang and I
cimtinued to exchange and discuss research
materials on Bada. Following Wang Fang\ us
death in 1997, many major museums
throughout the United States, including the
Freer Gallery ot Art, competed to receive
the bequest of Bada Shanren s painting and
calligraphy from Wang Fangyus collection,
tor it represented the best authenticated and
most comprehensive selection ot artworks
by Bada ever assembled in private hands.
Although I did not then know Wang
Fangyu 's son, Mr. Shao F Wang, we gradually
became acquainted over months ot commu-
nication about this bequest, and eventually
he decideci that the Freer Gallery ot Art
should become the repository tor the group
ot twenty works his father had designated as
the core ot his collectu)ii. Heartwarmingly,
my trienciship with the late protessor has
now been extended to Shao and his family
as well, whom I wish to th.ink tor their
extraordinary kindness and generosity. Shao
also made available a turther selection ot
twelve calligraphic works and one painting
trom his tather's collection, which the
museum acc]uired with funds provided by

the E. Rhodes and Leona B. Carpenter
Foundation, whose generous tinancial
support continues to enhance the iioldings
and activities ot the museum.

Unlike the m-depth study Master of tfic
Lotus Gaiifeii, this exhibition catalogue has
been prepared with the general public in
mmd and tocuses primarily on the thirty-
three works acquired by the Freer Gallery
ot Art trom the tcirmer collection ot Wang
Fangyu anci his wife. Sum Wai. It is our
hope that through this simple introduction,
the lite and art of the mysterious Bada
Shanren can be rendered more accessible to
a wider Western audience. In pursuing this
end, I have been extremely fortunate to
collaborate with two close colleagues, Bai
Qianshen, assistant protessor ot Cdimese art
at Boston University, and Stephen D. Allee,
research specialist m Chinese literature and
history at the Freer Gallery of Art and
Arthur M. Sackler Gallerv Professor Bai is a
specialist m Chinese calligraphv, concentrat-
ing on the seventeenth century, and has
published a number cif impiM'tant articles
on Bada s calligraphy and seals. He particu-
larly wishes to extend his appreciation to
his friend Matthew Flannery for helping to
prepare his manuscript for the essay m this
volume. Stephen Allee is a specialist m
Chinese literature and a gitted translator.
His passion tor Chinese painting and callig-
raphy IS surpassed only by his rigorous
training m Chinese literature, which is
self-evident m the numerous translations
and comprehensive notes he prepared for
the catalogue section ot this book. I also
wish to thank two tt^rmer summer interns,
Veronica de Jong, University ot Kansas, and
Wen-shing Chou, University of Chicago,
who helped to assemble and prepare the
initial documents for the book. In aciciition,
the authors would like to thank the Min
Cdiiu Society, Hong Kong, which gener-
ously donated funds tor the acquisition of
the electronic version of 5/7,'// qiiaiisfiii (The
complete imperial library of the Qing

vii

dynasty), which greatly enriched the
contents ot various notes and entries.

For the nuiltitude of tasks rehited to
hringmg the Wang bec]iiest into the Freer
Gallery's collection and producing the Bada
Shanren catalogue and exhibition, my
colleagues throughout the museum — in
Membership and nex elopment, C'ollections
Management, Conservation and Scientific
Research, Publications, Photography, Design
md Prociuction, Public Affairs and
Marketing — all deserve my deepest grati-
tude. I owe special thanks to Gu Xiangmei,
Chinese painting conservator, who hero-
ically remounted ten works and treated the
rest ot this important acc]uisition with her
usual skill and care, and to the Henry Luce
Foundation, whose grant for the C^hmese
Pamtmg Conservation Prc:)gram supported
these ettorts. I would also like to thank the
tollowing indi\'iduals: Lvnne Shaner, head
of the publications department, who over-
saw the entire project with untkiggmg per-
sistence; Gail Spilsbury, senior editor, who
worked with the authors with the utmost
patience and a pleasant manner; Kate Lydon,
art director, who preparecH a beautiful design
for the book; Rachel Faulise, tor detailed
production ccoordination and design assis-
tance; Suzanne Crawtord, who ciid an
excellent job proofreading the layouts;
Victoria Agee for preparing a complex

index; John Tsantes, head of the photogra-
phy department, who managed the photog-
raphy element of the book; John Wang,
who documented Bada Shanrens various
seals anci signatures and proofread the books
Chinese portions; and Carol Huh, my cura-
torial assistant, who efficiently handled the
untokl administrative aspects of the project.

The eminent Beijing scholar Wang
Shicjing and his wite, Shen Shiyin, spent a
month m the Freer library m late 1999, sort-
ing the archive ot research materials on
Bada Shanren assembled by the late Wing
Fangyu and subsecjuently clonated to the
museum by Shao Wang. They then wrote an
analytic rept:)rt on this substantial archive, for
\\ hich the authors are extremely gratetul.

There have been numerous requests to
view Bada s artworks ever since this acquisi-
tion jciined Freer s collection tour years ago.
We continue to warmly welcome scholars
and stucients who wish to study these
works and their archives and/or contribute
to our growing understancimg ot this great
yet mysterious master.

JOSEPH CHANG
ASSC^CIATE CURATOR

t^F CHINESE ART
FREER C;ALLERY OF ART AND

ARTHUR M. SACKLER GALLERY

Straddling
Two Worlds

IN KEEPINC, WITH THE Ol\}
Chinese curse, niy father, Wang Fang\ai,
hved in interestnig times. He witnessed his-
toric upheaval m China that included the
changing of governments and a calamitous
tide ot events. These experiences shaped
what iiiv father became. He was a scholar
literati from old Cdiinese society. Once,
when I almost succeeded m failing at
college, I asked my cerebral father what it
took to be a scholar, to which he brusquely
retorted m traditional Chinese fashion,
"Twenty years" studying by a cold w indow!"

Born ill 1913 to a prominent and well-
to-cio family, my father was the third of five
chilciren and the youngest son. The large
family compound m Beijing held the
trappings of success, including cibjects of
fine art. Wang Fangyu grew up m this cul-
tureci en\aronment where scholarship was
highly prized. His calligraphy lessons began
at age three.

Wang Fangyu was prepared for a career
in government service as a member of the
scholarly gentry but this possibility evapo-
rated as a result of historic events. It is true,
what they say abi)ut the fittest — they have
a remarkable ability to survive. Wang
Fangyu not only survived, he thrived.

Life IS about playing to our best adwm-
tage the mahjongg tiles each of us draws.
From turbulent China, Wing Fangvu came
to the United States and flourished.
Flexibility helped him; m Cdiina he taught
English, and in the United States he taught
Mandarin Chinese. In either situation the
guiding principle was the same: Be the best
at what you do, tor that is the surest deter-
minant of success.

To extend his academic credentials
beyond the bachelor of arts degree earned
at Furen University (Beijing) in 1936, my
father went to New York City to study at
Columbia University Teachers College. A
year later, in 194.i, he joined the Yale
University faculty and embarked on an
academic career that lasted another thirty-
three years (twenty years at Yale and thirteen
more at Seton Hall University where he
rose to become the Dean of the Deparnnent
of Asian Studies). Professional success came
c]uickly and steadily. He won numerous
awards based on his academic achievements
in the field of teaching MancHann, including
a Teacher of the Year award. His textbooks
and reference materials on teaching the
Chinese language are still in use today.

Throughout this career that many
people would consider a full-time endeavor,
my fuher was able to explore other interests,
such as applying computers to the teaching
of Chinese, a pioneering initiative at the
time. Concurrently, he also exercised his
traciidonal scholar-literati mentality through
a growing collection of art.

One of mv fathers earhest students was
Mr. Robert Hatfield Ellsworth, collector
and dealer extraordinaire. In Mr. Ellsworth,
my father found a kindred spirit and a
mutual appreciation for Chinese antic]uities
that became the basis for a woncierful
friendship lasting nearly five decac^es. In the
classroom, work focused on Mandarin
Chinese; yet, both teacher and student were
also thinking about Chinese fine art. It was
from this condition ot "wandering" that
mv father gave Mr. Ellsworth his Cdiiiiese
name. An Six'uan (he whose mind is tar

away). It was Mr. Ellsworth who g:ave niy
father the courage to propose to niy
mother. Sum Wai, and the two married
m 1955.

Through Mr. Ellsworth, my father met
my godmother, Ms. Alice Honey, cioyenne ot
Asian art dealers. Aunt Alice was a strong-
willed lady whose grace was exceecied only
by her love and knowledge ot Orieiitalia.
Through Aunt Alice my father began col-
lecting objects and paintings m the United
States. Once, he was reunited with an object
of great sentimental value — a large yellow
porcelain dish. The piece was considered a
precious family heirloom despite a modest
fracture that could only be detected by
listening to the ceramic tone after tapping
the dish in a particular way. During the
turbulence of the japanese invasion and the
Chinese revolution, the Wang family was
forced to sell c^tf their antiquities, including
this dish. On a visit to Aunt Alice's Park
Avenue apartment in the 1960s, Wang
Fangyu saw the dish again. Aunt Alice was
very proud of this object and asked my
father his opinion of it. He smiled and said
that the dish was magnificent but damageci.
Aunt Alice incjuired how he knew, because
she had not found an\' damage. My father
ciemonstrated by tapping the dish and
having her listen to the tone.

Calligraphy and painting were his true
joy. Wang Fangyu 's coniunsseurship opened
many doors that included meeting and
becoming a confidant ot Zliang Daqian, the
renowned painter and collector. It is inter-
esting to note that many of the Bada

]Viiin; Fainiyii and Zhaiio Daqiiii) in Hoiio Koin;, 1955.

Shanren paintings and calligraphies now
residing at the Freer Gallery ot Art came to
my father from Zhang Dacjian, who was the
subject of a Sackler Gallery exliibituin,
Clhillciii^iini the [\isf:'riic I'iiiiitiiii^s of Cluiiio
Diii-(^!iicii, in Among other activities,

Zhang would take pride in deceiving
"knowledgeable" collectors with his own
forgeries. This activity also served the prac-
tical purpose of raising funds to support an
extravagant lifestyle. Zhang Dacjian tavoreci
my father for his scholarship and apprecia-
tion of Chinese paintings, particularly those
by Bada Shanren. Zhang Daqian could
have sold these Bada Shanren works to
most any of a number of avid collectors,
but chose my father because Zhang
believed die pieces belonged where they
would be best appreciated and understood.
Some of my most precious memories are
of Zhang Daqian \'isiting our home,
painting, enjoying life, and talking about
works ot art.

xi

Wang Fangyii spent the last \'eai"s ot his
hte m the same Upper East Side Manhattan
apartment building as his other great h-iend,
C. C.Wang, collector and painter. These
events are truly a sign ot the blessings of the
United States — that two kindred spirits
representing the best cjualities ot traditional
China, atter crossing an ocean, a continent,
and over eight decades, would choose this
country as home. For only in America did
Wang Fang\'u believe he could achieve
what he did, as a scholar, collector, and
artist. In C. C.Wang, Wang Fangyu had a
peer with w hom long and deep discussions
of painting, calligraphy, and collecting
would result in a c]uiet joy and serenity
kimwii only to a privileged tew.

I was ne\'er ejiute sure how to react
w lien my tather retired from academia
upon writing niv last college tuition check.
Retirement is such a constricting concept.
For mv tather, retiring resulted in the tree-
dom to enthusiastically pursue a bold new
endeavor. New, yet not so new. hi the true
spirit ot the scholar literati, he eiiibarkeci
upon another activity: calligraphv. But not
just the calligraphy ot his youth; rather,
Chinese calligraphy that tweakecH the tradi-
tionalists, ot which he himselt was one.
This third expertise ot his took him to new
levels ot connoisseurship, where perhaps he
felt closer to those artists whose works he
had collected with such singular success.
Once, when I asked my mother why she
chose my father, she replied, "Because he
writes so well." Her words implied Wang
Fangyu was both cultured and retined, with
an astute appreciation ot the arts. Together,
mv parents achieved much. Sum Wai

prox icied emotional support and addressed
the practicalities ot day-to-day lite. Through
her caring and management Wang Fangyu
was able to pursue his artistic passions, both
collecting and creating, and Sum Wai admired
both. My tather readily acknowledged
never making a signiticant acquisition with-
C)Ut my mothers approxMl, and hers was the
opinion he also most valued regarcimg his
calligraphy Together they enjoyeci over
tort\- years ot happiness. Sadly, a testament
to the happiness of those four decades was
that after Sum Wai's death m 19*^6, Wang
Fangyu was otten clespondent in the last
year t^t his lite.

Yet until the very enci, my tather was a
tc:)rtunate man. To turn one's avocaticin into
ones vocation is a blessing. The common
thread, arounci which his multiple tields ot
expertise were joined, was passion. That he
was able to constructix'ely leverage that
passion tor Chinese culture, history, and
language was the most elegant and purest
sign of his successful lite.

I always toiinci tascinating Wang Fangyu s
search in nature for the "unbalanced balance."
In riditddo, or "the way ot nature," my tather
achieved this "unbalanced balance" with his
collection, his calligraphy, and his lite. From
my tather I learned ot a passion that can
magnity the preciousness ot each moment.
For him, that passion produced a tull lite,
well lived.

In the spirit of Zhang Oacjian and the
lineage ot connoisseurs, my tather believed
that his collection was meant to serve two
purposes: first, to be available tor future
generations to enjoy; and second, to further
advance the scholarship and understanding

ot the works. He acknowledged his own
stK'ietal debt to the United vStates and was
tally aware that the way he led his lite and
his accomplishments were possible only in
this country. Given the meticulous eftort on
the part ot both nn' p.ii-ents to .unass the
collection, it was their wish that it remain
together m the United States. In his will
my tather assigned me the task ot tmding a
suitable institution to house it.

I chose the Freer Gallery ot Art tor
several reasons. First, the Freer, together
with the Sackler Gallery, torm the national
museum ot Asian art tor the Uniteei States.
The Freer has tulfilled its august role by
making accessible a broaci and wonc^ertul
array ot Asian artitacts tor the enjoyment ot
all. Second, this gitt trom my tamily repre-
sents a meanmgtul enhancement to the
collection of Chinese paintings already
present at this extraordinary museum. The
Freer can now be viewed as the destination
institution in the United States tor those
artists and scholars interested in Bada

Shanren. We hope that, as sucli, items trom
this gitt will not only be on display tor
general viewing but also will be augmented
by other objects. Third, it is hoped that the
Bada Shanren calligraphies donated by my
t.imiK', and those purchased bv the E. Rhodes
and Leona B. Carpenter Foundation, will
combine with the marvelous gitt ot 260
Chinese calligraphies trom Mr. Ellsworth,
along with pieces previciusly acquired by
this institutK^n, to make the Freer the single
richest public museum for this revered
C'hmese art ttirm. I cannot help but note
the symmetry and personal comtort that
comes trom having pieces from both my
tather and his student, Mr. Ellsworth, serve
as cornerstt)nes ot this eftort.

My tamily and I are very grateful to
the Freer Gallery ot Art And its staft tor the
care and attention paid to these works, my
parents' lite ettort.

Ml AC") WANC;

A Scholar a
Dealer, and
Mahjongg

SHAO WANG'S ALLUSION TO LIFE
and the niahiongg tik's each ot us draws
says It all, as the game includes kick.
Knowing what I wanted to do with my lite
made it easier. Having a neighbor in
Connecticut who was a famous art dealer
was a great card to be dealt. He gave me a
job in kHS. His name was Frank Stoner,
and besicies being my teacher, he was a past
president of the British Antique Dealers'
Association and the most respected dealer
m English and European ceramic works ot
art 111 his day. I went to work one morning
with a green-glazed co\"ered vase, which 1
iiad bought at the Sloan-Kettering Thritt
Shop tor $(S.()(), and proudly announced it
was late Mmg. "How do you know?" he
asked, and the ne.xt thing 1 knew, I had
been un ited to meet and have c^lrinks with
Alice Boney, who was to become Shao
Wang's godmother. She settled the contro-
versy: I was right. Alice became my triend
and introduced me to the C'hinese art
world ot the day and later to my triend
Fred (Wang Fangyu).

Atter our friendship ot approximately
one year, Alice decided that I should go to

graduate school to study Chinese. From the
friends and acquaintances that I had already
met through her, she selected Alan Priest,
Laurence Sickman, Schuyler C^ammann and
Langdon Wirner to write letters ot recom-
mendation tor me to attend Y;ile.

Upon my arrival at this illustrious insti-
tution, I met Wing Fangyu (Fred) who was
to be my teacher tor the next two years. We
got to know each other cjuite well, and
atter three months Fred asked to come with
me when 1 covereci the country dealers
after school. The next stage in our triencl-
ship included Alice and New York Cjty We
covered the auctions as well as the shops.
When we startecl our escapades into the
Chinese art world, Fred had only one
painting — a Qi Baishi ot shrimp. This
exhibition ot Bada Shanreii shows how all
his life Fred played his tiles with geniuses.

Classes started at eight A.M. and finished
at twelve P.M.; five days a week I struggled
to become a scholar. Atter twelve o'clock I
became what I am: a dealer. Within six
months ot my meeting Fred, we closed the
classes at eleven a.m. whenever there were
sales in New York City at Parke Bernet,
Spaniermans, or O'Riley Brothers. Trade
was beginning to get its grasp on us. Fred
and 1 had many wondertul adventures. He
was collecting for liiniselt; I was buying to
earn a hving.

In the summer following my tirst year ot
graduate schtiol, I took a student's tour to
C^hina.Wlieii I returned home and starteci
my second year at Yale, I realized that Fred
was not suiteci to a single lite. He needed
more than just a friend with whom to chase

Fiun^yii and liohcii V.lhwoyth.

after treasures. He was having an ongoing
correspondence with a lady in Hong Kong.
After niy second year ot Yale, our hunting
and studying and tun was to come to an
end. 1 convmced Freci to prc:)pose to the
lady m Hong Kong — Sum Wai — and
physicalh' helpeel hmi push the lettei- mti)
the mailbox. Then, 1 was dratted into the
army and a two-year separation followed.
After my military stint, the Chinese lan-
<a;uao;e was dead, anci I went into business
seriously, where I have been ever since.

We met trequenth' whenex^er I found
sc^mething 1 knew Fred would hke to see.
The year I bought A.W. Barrs painting
collection trt^m his daughter Edna, we saw
a great deal ot each other. By 1964, I had a
rather grand gallery on East 5Sth Street.
Fred didn t get into town so often then.
However, wlien an interesting painting or a
new adciition to my nineteenth and twenti-
eth century material show ed up. we caught
up. By the end ot the 19d(ls, 1 was going to
Hong Kong at least three times a year and
he always came to see what I had acc]Lnred.

Through our mutual interest m Qi Baishi
I met a wondertui gentleman m Hong Kong
who sold me some ot my prize paintings.
After a few years ot friendship, he brought
out to show me the number one love ot his
lite — rubbings of Chinese calligraphy. Some
ot these were in my exhibition at the Palace
Museum m Beijing, including one volume
ot the CliiiiiliiiiH^c lie (tenth-century, Chinese
calligraphy rubbings). Fred was with me
when I bought it at Christies. Monrents
after, and setting a new worlds record for
rubbing (mine), m raceci a Cdiinese ciealer
trom Hong Kong. He heacied tor Fred and
asked, "How much did it go tor?" Then.
"Who bought it — he had to be a Chinese."
Fred anc^ I were standing together and he
said, "Yes, my triend An Siyuan bt)ught it."

I was invited by the mainland govern-
ment to do business with their Beijing arts
anci cratts in I ''7''. I bought and sold trom
their warehouses. I did an .uiction tor them
at Christies in I'.'(S1, and there were three

old friends involved — Fred, Alice, and
myself When the powers-that-be decided
to dress up Luilichang, the alnuist ancient
antiques district ot Beijing, I made it possi-
ble tor two painting galleries to be redone
by buying a great many nineteenth- and
twentieth-century calligi'aphies that are now
in the Freer Gallery collections. Export
licenses automatically appeared tor anything
I wished to purchase. There were approxi-
mately three hundred calligraphies. When
Freci saw what 1 had brought home trom
this trip, he tinally agreed that I didn't need
to read Chinese to understand calligraphy.

From time to time, Fred would check m
to see how the collection was progressing.
When he moved to New York City, we saw
more ot each other. At this time, age and
space became a factor m his life, so he sold
me many ot the most important runs ot
research publications in his personal library
including perhaps the only complete run
since the beginning ot publication ot the
Shanghai quarterly Diioytiii (Art Clouds
Quarterly). He knev/ they were sate with me,
and it he needed to check something out,
they would always be available tor his perusal.

When we first met, tracie anci scholarship
did not often mix. Our friendship was built
on the blenci ot bodi. Fred was mostly a
scholar with a little trade thr(~)wn m, and I
was the reverse. We both benefited ti-om each
others friendship m many ways, for mam-
years. I know he will be smiling and amused
that this most unusual mixture for the I95()s
is well representeci by us ,it the Freer more
than fifty years later. In the United States,
there is no conrparable institution to the
Freer that offers students access to a bec|uest
as impt:)rtant as Freds. I am proud to be
included with my friend m the list ot bene-
factors ot the Freer. I am extremely grateful
to have lived long enough to see this happen.
Fred unquestionably played his tiles well. I
am indebted to Lady Luck for dealing me an
ace m my fnenci Fred — Wang Fang^'u.

AN SIYUAN — BOB EtLSWORTH

Re membering
Fangyu

I OWE MY SPECIAL FRIENDSHIP
with Faiiu;yu entirely to Chinese painting
and calhgraphy. When Zhang Daqian came
to the United States in the iy5()s and
brought w ith hini a group ot paintings and
calhgraphy by Bada Shanren, it was through
ni\' mtrodnction that Fangyu acquireci
many ot these works and established the
foundation ot his collection.

Fangyu was a typical scholar, which can
be seen tor example m the unusual name
he chose tor his studio. The Hut tor Eating
C'hicken Feet (Sliijizhilii). This name alludes
to a passage m the ancient Chinese text
The Spriin^s ami Aiiniiiui< of Miisfcr Lii,
which says; "A good scholar is like the King
ot Qi eating chicken teet; he must eat many
thousand betore he has haci enough"; to
which a conmientary adds; "The word
'chicken feet' (zhi) means the heel of the
chicken toot; this statement is a metaphor
tor the scholar who explores numerous
piaths, then determines which is best." hi
just this manner, Fangyu urged himself on
mdetatigably, achieving mastery through his
stuciies in a broad range of subjects. He
devoted his lite to teaching Chinese language
and literature, and possessed a profound
knowledge of philology, literature, anci his-
tory, using various scholarly methodologies
such as textual criticism and comparative
analysis in both his research and collecting.
He persevered in this for several decades,
and aside trom the works in his own collec-
tion, he also arranged to visit collections of
Bada s works all over the world, gaining
broad knowledge anci extensive visual

experience. Over the years, he published
several ciozeii scholarly articles about Bada
111 all kinds ot publications, both Chinese
and Western, in which he adciresseci one by
one the age in which Bada lived, his names
anci sobric]uets, his seals, his language and
writing, and the authenticity ot works
attributed to him, cjuoting copiously from
numerous texts and tracing things back to
their source, hi 1*^^84, Fang\ai edited the
Bdda Shtiiiivii liinji (An anthology ot essays
on Pa-ta-shan-jen), and m 1990 he and
Richard M. Barnhart, professor of Chinese
art history at Yale Unu'ersity, coauthored
the monograph Maslcr of tlic Lotus Gdidcii:
Tlic Life and Art of Bada Shanieii
(t626- 1705). At the same time, they
mounted an exhibition of Bada s works anci
held an international scholarly conterence,
which caused great excitement both at
home anci abroad anci was the culmination
ot Bada studies m our time. As a result,
Bada Shanren became one of the best-
known Chinese painters in the world.
Fangyu's achievements in researching anci
introducing Bada will never perish, for he
was undoubtedly the toremost scholar ot
Bada Shanren in our time and the one
who most protoundly uiicierstooci him.

For ciecacies. I have repeatecily empha-
sized "brush anci ink" (biiiio) in my connois-'
seurship of Chinese painting and calligraphy,
that to be able to recognize the ditTerences
in how individual artists use brush and ink
IS the key to coniioisseurship. The brush
anci ink ot a Chinese painting are like the
voices we are born with, each has its own
inimitable quality. Once you recognize this
unique voice, it is no longer difticult to

dirtereiitiate the look ot an individual artist
or to distinguish original works from copies
and authentic works troni takes. I was
extremely fortunate to have had a bosom
triend like Fangyu with whom I could sit
side by side and intimately discuss such
things, tor he was one ot the very tew
people outside China who understood this.

Fangyu was also known internationally
tor his calligrapln'. Althougli Chinese paint-
ing and calligraphy were certainly not his
area ot protessional expertise, Fangyu had an
astute mind and was an excellent scholar,
and based on his erudite knowledge ot the
written language, he incorporateci the
uniciue linear qualities ot Chinese calligra-
phy and his own aesthetic ot ink tonality
into his historical analysis aiui interpretation
of individual characters. He often selected
just one or two characters and tused their
structural elements with the tluidity ot line
and variations ot ink tonality to create what
he called works ot "dancing ink." This
approach inspired people to look at Chinese
calligraphy trom a ditterent point ot view
and brouglit them to a new appreciation ot
Its aesthetic c]ualities.

After Fangyu retired, he devoted even
more ot his time to studying Chinese
painting and calligraphy, and whenever we
had the opportunity, we would get together
to discuss things. Over many painstaking
years, Fangyu became especially tamous tor
his collection ot works by Bada Shanren

and Qi 13aishi, and when we came across
works by either ot these two masters, we
would always take great delight in discussing
them, talking tor long hours and torgettmg
to go hcTine. In 1994, Fangyu moved trom
New |ersey to an apartment in Manhattan
to become my neighbor m the same build-
ing, making it more convenient tor us to
cHiscuss painting and calligraphy. Atter that,
with iust a pht^ne call or by walking a tew
steps, we could easily bring each other
paintings to view anci discuss at length. The
teelmgs ot this kind ot triendship, where
"we enjoyed rare paintings together and
mutually examined their uncertain mean-
ings," were no less than the pleasures of the
Peach Blossom Spring.

In the autumn ot l')^)7, an unexpected
tailure ot heart surgery took the lite oi
W^ing Fangyu. Alas, he is gone, and m tine
night ot autumn wind, heaven and man are
torever parted. Fangyu toc~)k with him many
great unfinished plans tor articles anci
exhibitions, and while the world lost a great
expert on Bada Shanren, I suddenly lost a
dear triend with whom I can no longer
enjoy our intimate conversations. Until this
day, whenever I think back, my heart and
mind still ache with pain. 1 iiave written
this short account tc^ expiress my griet and
record it here tor those who carry on
atter us.

C . C\ WA N G

Maps

SHANDONG

JIANGSU

CHINA

:i Rh'i'r

ZHEJIANG

JIANGX!

FUJIAN

Yellow
Sea

EASTERN CHINA IN THE 16TH AND 17TH CENTURIES

xviii

HUBEI . ANHUI

Fengxin Nanchang
Xinjian

HUNAN (Modern

Yiyang

Nanchang) ^ ' »

Jinxian

Chongren

Linchuan

Jianchangfu
(Modern Nanchang)

J I A N G X I

Nanfeng

FUJIAN

50

MILES

JIANGXI PROVINCE IN THE 16TH AND 17TH CENTURIES

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4

The Life and Painting of Bada Shanren

JOSEPH CHANG

Who was Bada Shauren (1626-1705)? Much about hiui rcuiams a mystery. His name is a
pseudonym and means Eiu;ht Eminence Mountain Man, a term that might be puzzhng to
the uninitiated but is a houseliold name to scholars m the field of Chinese painting and
calligraphy. Identifieci positively as one of the many ciescendants ot the Miiig imperial prince
Zhu Quan (1378-1448) — the seventeenth son of the dynasty founder and the first prince
of Nanchang, Jiangxi — Bacias origins remain elusive. During his lifetime, he adopteci about
a ciozen different pseucionyms, some with sHght variations. The name Zhu Da never
appeared m Bada's signatures or seals but became associateci with him m 172(.), titteen years
after his death, and is still widely known today. More recent scholarship on Bada's genealogy
remains inconclusive; some stuciies have attempteci erroneously to establish Bada Shanren's
lineage as the crown prince of the last emperor of the Ming dynasty (1368- 1644).' While
the riddle of Bada's lite continues to generate prodigious scholarly activity, Bada's true
identity has yet to be revealed.

BEFORE THE FALL OF THE MING DYNASTY, 1626-1644

Bada Shanren was born into a literary and artistic family that for generations had cultivated
poets, calligraphers, painters, seal carvers, and art historians, including Bada's father and
grandfither.- Most scholars are convinced that the poet, calligrapher, painter, and seal carver
Zhu Duozheng (1541 — 1589) was Bacia's grandfather. Although Bada never met his grandta-
ther, Zhu Duozheng's talents influenced his cievelopment as an artist. Bada's lather Zhu
Moujin (died 1644) was a deaf-mute painter who had learned from his own father and
capably rendered the styles of mid-MmgWu School masters Shen Zhou (1427- 1 509), Wen
Zhengmmg (1470- 1559), Lu Zhi (1496- 1576), and Zhou Zhimian (late 16th-early 17th
century). Raised in such an environment, Bada began writing poetry at the age ot seven and
later became accomplished m calligraphy, seal carving, and painting. ' As an imperial descen-
dant, Bada most Hkely received a classical eciucation. He took the civil service examination
m his late teens, passed the first-level test m the early 1640s, anci was saici to be a brilliant
student. Little else has been recorded about his youth.

In 1644, on the 19th day of the third lunar-month (April 25), the last Ming emperor
committed suicide when a rebellious peasant army sacked the capital, Beijing. Reportedly,
Bada Shanren's father died shortly afterwarcis. That same year, on the second day of the fifth
lunar-month (June 6), the nomaciic Manchus from the northeastern frontier seized the
capital anci established the last dynasty ot the Chinese empire, the Qing (1644-1911).

SEEKING SHELTER IN BUDDHIST TEMPLES
AND EPISODES OF MADNESS, 1645-1680

hi 1645, a year alter assuming power, the Qing army fought its way into Bada Shanren's
hometown, Nanchang, [langxi, causing Bada to flee and take retuge m the Fengxm moun-
tains, west ot Nanchang. In 1648, at age twenty-two, Bada tound shelter in a temple and

1

FIG. 1 Portmit of Gcsliaii.hv
Huang Anping (act. late 17th
century), China, Qmg dynasty,
1674. Hanging scroll, mk on
paper, 97 x 60.5 cm. Bada
Shanren Memorial Museum,
Nanchang. From Wang
Zhaowen, ed., Bada Sluviivii
qtiaiiji (Complete works of Bada
Shanren) (Nanchang: jiangxi
meishu chulTanshe, 2000). l:v.

became a Buddhist monk, just as many artists who created pseudonyms for either artistic or
symbolic expressions, Bada adopted many Buddhist names for himselt, including the better-
known ones, such as Xuege, Chuanqi, Ren\in, Fajue, and Cleshan. Bada remained a monk-
painter tor more than thirty years.

Being a gitted individual from an educated tamily, Bada quickly learned the Buddhist
teachings, exceeding his peers' expectations, in Ui53, he became a disciple ot the prominent
Chan master Yingxue Hongmin (IdO?— 1()72) ot the Caodong sect. Three years later, at age
thirty, Bada replaced his master and became abbot ot the Lantern Society (Dengshe) at
Jiegang, Jmxian, soudieast ot Nanchang. Badas earliest surviving works date to this period.

Bada s earliest extant work. Flower Snuiics, an album ot twelve paintings and three leaves
of calligraphv, dated 1659-60, is m the collection ot the National Palace Museum, Taipei.
Heavily permeated with Chan connotations — untamiliar even to most sinologists — Bada's
inscriptions in this work are puzzling. This trait remained generally true tor his later works
as well. As tor Badas early paintings, his chosen subjects and indistinct brushwork recall the
style ot the mid-MmgWu School masters, including Shen Zhou, Chen Shun (1483-1.544),
and Xii Wei (1521 — 1593). However, Badas compositions are constantly unique. He tends to
leave the center of most paintings void, with the elements ot the imagery dangling trom the
picture frame or often outside the frame (fig. 2).^ This feature is even more obvious in Badas
Lotii< album (cat. entry 1. leaf S; tig. 3) painted a few years later, circa 1665, and now m the
Freer Gallery ot Art's collection. Fragmentary images give many ot Bada's paintings an
incomplete look, evoking a sentiment that the world is imperfect in the eyes ot this former
prince who was living clandestinely under a foreign regime.

Little IS known about Bada's activities and associates during the 1660s, except that he was
painting; however, trom the beginning ot the l670s, historical records indicate that Bada's
social circle had expanded from fellow Buddhist disciples to worldly Qmg officials. In the
summer ot 1671, Bada Shanren made the acquaintance of Qiu Lian (1644-1729), a poet
trom Zhejiang and the son-in-law of the incumbent Xmchang magistrate Hu Yitang (died
16<S4), who later was posted to the same official position in Lmchuan, jiangxi, from 1677 to
16<S(). A close friendship soon developed among the three men and other members ot the
social elite through their participation in literary gatherings and the exchange of poems."
Ironically, at about the same time that Bada developed these new friendships, his Buddhist
mentor Yingxue passed away. These two signiticant e\ ents ina\' ha\'e ctMitnbuted to his grad-
ual move toward the secular world.

Bada's old frienci Huang Anpiiig (active late 17th century) painted the mysterious former
prince in a monk's robe after the two happened to meet on the seventh day of the fifth
lunar-month ( |une 10) m 1674. Bada clearlv treasured this image of himself — titled Portrait

FIG. 2 Juk Flowers, leaf 10 from
Floii'cr Snuiics. by Bad.i Shanren
(162(1-1705), China, Qmg
dynasty, 1659-60. Album of fif-
teen leaves, mk on paper, 24.5 x
31.5 cm. National Palace
Museum, Taipei.

FIG. i Lt)f;/i, leaf 8, from Lotus,
cat. entry 1.

of Gcsliaii (see fig. 1; see p. xx) — tor he wrote autobiographical reterences on it six times
between 1674 and 1678 that reveal his torment m choosing between the sacred anci secular
spheres.'" Bada Shanren asked his fellow disciple Rao Yupu (17th century) to adci an inscrip-
tion on the portrait in 1677. ha his informative statement, Rao acknowledges that Bacia
received praise for his discipline and creativity m whatever he pursued. Rao also writes
about Bada s wish to be regarded as a painter and poet henceforward. On Rao's inscription,
Bada made an impression with a personal seal that reads, XijiaiigYiyaiig waiigsuii (Descendant
of the Yiyang Prince of jiangxi; see Bai, fig. 12, p. 23), reveahng openly, for the first time, his
imperial lineage. It haci become evicient that Bada Shanren was ready to return to the secu-
lar worlci under his former imperial identity.

Perhaps, the challenge of reentering secular society after being a Buddhist monk for more
than thirty years causeci Bacia to suffer a nervous breakdown the summer and autumn of
1678.' His mental health further declined m late 1680. Shao Changheng (1637-1704), a
scholar from jiangsu who met Bada m 1690, described a period when Bada "went mad, sud-
denly laughing alouci, or crying sadly all day long. One evening he tore off his monk's robes
and burned them. On a walk back to Nanchang, Bada madly strolled alone, going from one
shop to another in the city. . . . He was recognized by no one, until found by a certain nephew
who took him home anci kept him there. After a long while, Bada eventually recovered.""

Can Bada Shanren's so-called madness be detected in his works? Based on Hans
Prinzhorn's characterizations of schizophrenic artists, published in 1922, art historian James
Cahill argues that "Bada m his best and strongest works is not merely reflecting whatever
disorder still afflicted him, but is drawing on remembered states of mental aberration to
create the aberrant forms anci structures of his paintings — one might adapt [William]
Wordsworth's famous formulation for poetry to speak of this as 'madness recollected m
semi-sanity." " " It may be impossible to prove that Bada went maci during this period of his
life. However, accounts written by his contemporaries Qiu Lian, Shao Changheng, Long
Kebao (17th century), and Chen Dmg (17th century) express either suspicion or outright
certainty that Bacia 's "madness" was feigneci for ulterior motives. Shao, in his "Biography of
Bada Shanren," opined:

There are nuiiiy ii'lio k'lioti' IBiuiiij Slniiireii, hut there is none ii'lio truly knows jBodaj
SIhinren. . . . What is lie siipjhised to do? By tictin<^ suddenly mod, or suddenly nuite, he can
conceal himself and he the cynic he is. Some say he is a madman, others say a master These
people are so sludloii' for thinhim^ they hnotr fBadaf Shanren. Alas!""'

FROM MADNESS TO MARRIAGE AND BEYOND: THE DONKEY YEARS, 1680-1684
For unknown reasons, Bacia Shanren painted landscapes only after he had renounced monk-
hooci and returned to secular life. His first dated landscape painting appeared m 1681 (fig. 4),
and was signed with a changeci name, /('/ (donkey) followed by a seal with the same Chinese
character (see appendix, seals, no. 7). While the composition and brushwork appear ordinary,
Bada's inscription is typically difficult to interpret. Although the writing is calm, a strong
sense of sadness can be detected in it. Equally mysterious is why the landscape subject, after
the first dated one of 1681, did not resurface m his works until the late 1680s or early '90s.

It is unclear whether or not Bada Shanren marrieci before the fall of the Ming ciynasty. He
may have married later on, however, for several contemporary accounts relate that concerned
friends encourageci him to marry after his so-called madness in late 1680. Furthermore, sev-
eral works of the early 1680s, bearing the /// signature or seal, seem to share similar obscure
references to Bada's unhappy marriage. Whatever the case, the marriage was short-lived, and
more specific messages about it were expressed through the writings on his paintings and
works of calligraphy between late 1682 and 1684. A recently discovered painting, Crah- Apple

A ..ft ^4!-

^ ^ ;! ^ 7

- ^

FIG. 4 Laiidicapc, by Bada
Shanieii (1626-17(15), China,
Qing dynasty, 1681. Hanging
scroll, ink on paper, dimensions
unavailable. CA"3llection unknown,
trom Tiiislhiii Ciiiisliiloii ciiiioliiiii
(Paintings in the collection of
the Broken Stone Tower of
Taislian). 40 vols. Shanghai:
Xiling ymshe, 1926-29.

FIG. 5 Crab- Apple Flowcis, by
Bada Shanren (1626-1705),
China, Qing dynasty,
ca. 1682-S4. Hanging scroll, ink
on paper, 119.5 x 38.5 cm.
I'rivate collection. New York.

Floii'crs (fig. 5), further supports the theory that Bada had a brief, unsuccessful marital experi-
ence. Datable to early 1684 — owing to its unrestrained writing style — Badas inscription on
Cmh-Appic Flowcis refers to irreconcilable differences between the spcnises.The artists seal,
//(■///, or "What promise did 1 break?" underscores the probability ot an unhappy ending."
Badas paintings and calligraphy trom this period (168U-S4) are characterized by a pret-
j erence to use the side of the brush, forming flat, angular, and sharp-encied strokes. The most

z Irequendy used signatures and seals bear the /// character, a Chan relerence not only to his

S lornier monkhood but also to his recognition ot "impossibility" m lite.'"

<

<

Z SUDDEN RETURN TO THE MUNDANE WORLD,

° WIELDING BRUSH AND INK, 1684-1705

;= A new pseudonym, "Bacia Shanren," made its first appearance, in both signature and seal, in

< 1684. The album Scripture of the Inner liiKliiiiices of the \'elloii' Court (cat. entry 2), dated on the

^ first day ot the seventh lunar-month (August 11), in the Freer Clallerx's collection, bears the

1 artist s earliest dateci signature ot Bada Shanren known to date (see appendi.x, signatures, no.

^ 2). The signature is also followed by a seal with the /;/ character (see appendix, seals, no. 7).

J The Freer album provides an important link m the artist's transitional period trom the lii, or

4

"donkey," years to those that tiillinved. duniiL; w inch Bada rose to become one ot the best-
known artists in the history ot Liter Chinese painting.

Sheshi, To Be Involved in Affairs, 1684-1693

Bada Shanrens adoption ot a new pseudonym that he usee! tor the rest ot his lite suggests
that he not only came to terms with his broken marriage but alscT made peace with himselt
and his lite. He continued to socialize with and create artworks for monks, Qiiig officials,
and scholars. While tlat and angular brushwork still distinguished his paintings and calligra-
phy in the latter part ot the U)S()s, Bada was gradually holding his brush upright to use
more ot the resilient vertical tine tip (:!nvi<^feii<^) instead ot hokiing it at a slant and using the
side of the brush top (ccfciioj.A tine example ot his work using a slanted brush and tlie side
hair IS the album leaf /'///c 'live (fig. 6), ciatable to circa 1688 — 89, in the Freer Gallery of Arts
collectuin. This work illustrates the cliaracteristics ot broad and tlat brushwork executed to
torm the angular, twisted cc:intciurs oi the objects depicted. By holding tlie brush upright,
the well-rounded hair and tine tip tend to create more linear and e\en brushstrokes. Twi>
album leaves m the Freer's collection, LiLh' I-lou'ci.< and Ciilli{inipliy (cat. entry 3), dated Ui''0,
pixwide a cc^mpelling comparison tor the two very clitferent techuRjues. Holding the brush
upright allows the arm (and luit the wrist) to manipulate the brush more treely and swittly.
As a result, Bada "s signature and tacmg inscription in running-cursiw script appear more
solid anci tluid.

Other than a handtul ot landscapes, Bada s tavorite subjects during this period were bircis,
flowers, bamboo, lotus, melons, plants, fish, ducks, insects, cats, and chickens. Such a broad
range ot interests is unusual when compared to his contemporaries. What intrigued him to
try his brusii on such variety? Records reveal that in the beginning o\ his secular lite Bada
painted tor his own eii)oyinent and gave away his works. Yet his need tor income and his
growing recognition as an artist among the social elites led him to become a professional
painter in the late 1 68( )s. ' ' judging trom extant dated works, Bada became increasingly active
trom I ()')() onward."

An unusual term, slialii , meaning "to be involved in affairs," repeatedly appears m Bada's
dated paintings and seal impressions between \(^)() and 1693.'" Four works m the Freer
Galler\ "s collection alone testily to Bada's trequent usage ot this imaginative term: Bamboo,
Roch. ami Small Birds, dated l(i''2. (cat. entr\' 4); Falliiio Flowci, BmUilia's Hand Citron.
Hibiscus, and Lotus Pod, also dated 1692, (tig. 7 and cat. entry 5, leaves 1, 2, and 4) all bear

FIG. 6 Piiic Tree, leaf k, from
Flowers and Birds, by Bada
Slianren (1626- 170.S), Cliina,
Qiiig dynasty, ca. l()SS-89.
Album ot eleven leaves, nik
on paper, 25.5 x 23 cm. Freer
Gallery of Art, Smithsonian
Institution, Washinsj;ton, D.C.,
Fr)55.21i.

FIG. 7 Slicslii (To be involved
in affairs), detail trom Falling
Flower, leaf 1 of Falliiio Flower,
Btidilhd's Hand Cilroii, Hibiscus,
and Louis Poil, cat. entry 5.

slicshi in Badas inscriptions. A seal impression of sitcslii (see appendix, seals, no. 15) can also
be identified in the lower right corner of Biiddlia's Hand Citron. Bada explained why he
came up with this term in one ot the three inscriptions that he wrote on the Shanghai
Museums Birds and Fish, dated 1693: "|One must] repeatedly climb |the mountains] to be
tree trom tear, struggling tor competence. In writing, too, [one] must be free from fear in
order to be competent; the same holds true tor painting. Theretore, when it comes to
painting, I respectfully call it slicslii'''"

Based on these precepts, Bada's vision becomes clear: he intended to immerse himself m
brush and ink and to be tearless and competent m creating paintings that portrayed a variety
of objects. Badas growth m this direction was paralleled by his change in format from the
small, intimate album and handscroll formats to the large, powerful hanging scroll, such as
Bamboo, Rocks, and Small Birds mentioned above.

In Pursuit of Antiquity, 1693-1700

Already an accomplished painter and calligrapher by aciolescence, by the early 169()s, Bada
Shanren had been creating with brush and ink for more than half a century. He knew the
age-old theory of shuhua tongyuan — that calligraphy and painting are of the same origin —
and that little difference exists in how these sister arts are comprehended or createci.
The year 1693 marked a period of great importance in Bada's aesthetic evolution, hi a
missing album. Landscapes and Calligraphy, consisting of eight leaves and ciated 1693, Bacia
unmistakably stated his philosophical views on four of the leaves. First, literary talents are
ec]uivalent to the caUigraphy and painting of the world (leaf 6); second, the essence of art
should not be judged by likeness to an object, but by the emotions and intelligence the art
embodies (leaf 2); and third, painting anci calligraphy are to be created using the same methocis
(leaves 5 and 8).''

Both landscapes on the second and the fifth leaves share certain unusual qualities m their
landscape elements: boundlessness and indefiniteness. Whereas the hanging cliff in the upper
right corner ot leaf two and the slope m the kiwer left of leaf five are bodi edgeless, stretch-
ing the landscapes to indefinite remoteness, the contours of trees and rock formations are

often indistinguishable, creating a world that is only beginning to emerge. In his lengthy
inscriptions, Bada subtly advocated the importance ot emotions and intelligence m an art-
work over any likeness it represented. This was a time when Bada seriously contemplated art
and Its meaning m his lite. Technically, he reemphasized that the methods ot painting should
be united with those ot calligraphv, and vice versa. With this revelation, Bada Shanrens art
reached new heights.

At the same time, he delved turther, and seemingly indiscriminately into study ot the old
masters ot" calligraphy. From ancient steles to works by the great Ming master and theorist
Dong Qichang (1555 — 1636), Bacia ciiligently and thoroughly stuciiecl them all (cat. entries 6,
17, 20, 31, and 32). In painting, especially the landscapes, he taithtuUy toUoweci the doctrine
of the Southern School literati painting, arbitrarily established by Dong. This tramework
emphasized that paintings by men ot letters should employ the methods ot \\riting ancient
scripts, but at the same time shouki achieve selt-expression through pure calligraphic brush-
work characterizeci by intuition and spontaneity."* Of all Dong's immediate tollowers, it is
Bada who ofters the best examples tor interpi^eting Dong's theory and practice.

In the Grici'ino for a Fallen Wirioii album (ca. 1693 — 96; cat. entry H). although the tour
landscape leaves are not inscribed with specitic stylistic sources, they generally recall the
familiar yet distinctive manners ot the Four Cireat Masters ot the Yuan dynasty (1279- 136S):
Huang Gongwang (1269-1354; leaf 3);Wu Zhen (1280-1354; leaf 2); Ni Zan (L^()6-1374;
leat 1); and W;ing Meng (13()S- I3(S5; leat 4), all distinguished painters m Dong Qichang's
Southern School lineage.'" Bada was completely at ease m displaying the wonder ot brush-
work from Ni Zan's simplicity tt~) Wang Meng's complexitv. The combination of abstract
brushwork and ambiguous spatial relationships resulted m charming and illusive landscapes
in this excjuisite album. Bada's capabilit\' ot handling brush and ink reached the realms ot
///;//' qigii (ever-changing, eccentric, and antique) as described by his distant cousin, Shitao
(1642- 17(J7), a tellow prince-pamter.-" These "ever-changing and eccentric" qualities are
best seen m Bada's large paintings ot lotuses and birds, such as Lotus and Ducks (ca. 1696; cat.
entry 9) m the Freer Gallery's collection. The contrast ot solid and loose between the long
and upward-litting lotus stalks — as it they were "written" m the manner ot seal script — and
the broad and hanging lotus leaves — splashes with wild-cursive strokes ot multi-layered ink
tonality — is truly ever-changing in execution. The upward, expressive gaze ot the juxta-
posed ducks (tig. (S) bears a quality ot human emotions.

Bada devoted more of his talents toward calligraphy and landscape painting from this
point on. The prose and poetry by the old masters that Bada chose to write are frequently
about dwelling m nature (cat. entries 10, 13, 22, 25, and 2S) or landscape paintings (cat.
entries 1 1, 14, 15, 16, and 18). The tollowing lines, written by the renowneci Tang poet Du
Fu (712-770; cat. entry 16) are among those most frequently quoted by artists reflecting
on the ideal circumstances for creating landscape paintings:

Ten i1ay< to paint a rim;

five days to paint a locL',
An expert does not suffer f'elino pressed or hurried. . . .

Bada echoes these lines. Yet in reality, he needed to produce art for income at the
expense of pure creativity. When the scholar Wang Yuan (1648-1701) traveled to Nanchang
m 1698 and met with Bada, he wrote to another painter, Mei Geng (1640-1722), m
Xuancheng, Anhui Province, that Bada was "a true master. His arts go far beyonci those ot
his peers. But he is poor and has to make a living by selling his calligraphy anc4 painting,
therefore, socializing with society is simply inevitable. Indeed, it is a shame."-

Bacias Album after Doiiji Qicliaiiiis "Copies of Aiieient Landscape Paimiui^s" (ca. 1697;
cat. entry 12) reinterpreted Southern School masters such as Dong Yuan (died 962)
(leaf 1, 5), Zhao Mengfu (1254-1322; leaf 2, 3), Huang Gongwang (leaf 4), and Ni Zan
(leaf 6), through the filter of Dong Qichang's own interpretation. Bada not only fc-)lloweci
Dong's copy of ancient lanciscapes, he also faithfully copied Dong's inscription on each leaf,
including the signatures, except for the first leaf, where he left his own mark with a seal
impression. When Bada was young, Dong Qichang was rather influential in terms of callig-
raphy; as Bada matured, Dong continued to be influential, but in terms ot painting. Bacia's
Album after Don{; Qiclian(^s "Copies of Ancient Landscape Paintiiij^s" is his ultimate homage to
the Ming dynasty's great master Dong Qichang, and exemplifies Bacia's personal pursuit of
antiquity in the great tradition of Chinese landscape painting.

FIG. 9 Lviil.Hiipv, by Bada
Sham-en (1626-1705), China,
Qing dynasty, ca. 1705. Fan
mounted as an album leaf, ink
on paper, hS x 50 cm. Private
collection. New York.

Seeking Solitary and Heavenly Harmony, 1701 — 1705

Starting m the year 1701, a new studio name. Huge caotaiig (Hut tor Sleeping Alone and Waking
to Sing) appears in Bada Shanrens inscriptions and was used until his death in 1705. Although
it has been reported that m 1702 Bada was a member of the Donghu Calligraphy and Painting
Society (Donghu shuhua hui), which was tormed mostly by local artists, he also sought a soli-
tary Life m old age.-' A local scholar, Liang Fen (1641-1729), wrote to Bada m 1704, stating that
he had not heard from Bada in four years. It is evident that Bada's social activities diminished
during the last years of his life. The year ot jiiislicii (1704) lackec4 a dated work by Bada. It is also
possible that because the Ming dynasty endeci in the same cyclical year ot jiaslicii (1644), alter a
sixty-year cycle, it was simply too painful for Bada to record that particular date.

Taking into account both Bada's new studio name and Liang Fen s concern about the
artists seclusion, it seems probable that Bada intended his last years to be solitary. This cho-
sen behavior complements Ni Zan s lanciscape style as described by Dong Qichang on the
last leat ot Bada's Albtiiii after Dong Qichaiig's "Copies of Ancient Landscape Paintings": "The
paintings of Ni Yu [Ni Zan] are plain and natural, and have none of the helter-skelter vul-
garity of common painters'" (cat. entry 12, leat 6). On another album leat by Bada, Landscape
after Ni Zan (ca. 1703 — 5; cat. entry 33), m the Freer collection, the artist himselt remarks;
"Ni Yu painted like a celestial steeci bounding the void or white clouc4s emerging trom a
ridge, showing not a speck ot mundane vulgarity. I cirew this [pamtmg] m my spare time."''
The absolute simplicity ot the composition and the contour ot trees and rocks outlined by
the smooth dry brushstrokes present a lanciscape from a pure and lotty mind.

Bada had long been interested m the writings ot the ancient philosopher Zhuangzi (ca.
369— ca. 286 b.c.e.) as shown in the Shanghai Museum's Birds and Fisli scroll.'" On another
late lanciscape, Bada wrote; "|This is| wliat Zhuangzi meant by 'harmonizing with a touch ot
heaven.'" ' This abbreviated inscription reters to Zhuangzi's idea ot how a man can live out
his years simply by following the laws ot nature as expressed in Zhuangzi's "Discussion on
Making All Things Equal"; "Harmonize them all with the Heavenly Equahty, leave them to
their endless changes, and so live out yom years."'" It was this kind ot simple and harmonious
relationship between man and nature that Bada was seeking in the latter part ot his life.

A small tan. Landscape (ca. 1705; tig. 9), painted in his last studio called the Hut tor
Sleeping Alone and Waking to Sing, illustrates well Bada's secluded later life. There is not a
soul in sight m the wilderness, only a tmy hut, almost invisible, situated on a low hiU and
separated trom the ciistant mc^untains by the rising cloucis behmci it. The rising clouds,
depicted only with the void, remind us of Bada's earlier remark on Landscape after Ni Zan
(cat. entry 33), which partially reads; "White clouds emerging from a ndge, showing not a
speck ot niLinciane vulgarity." The only link to the mundane world is a small bridge leading
trom the hut's lower right side. The characteristic pale and dry brushstrokes ot Bada's lofty
and elusive later years detine the trancjuil and timeless nature m which heavenly harmony is
supposed to be tound.

<

X

u

9

NOTES

1 For detailed accounts of Bada
Shanien's genealogy and identity, see
Wang Shiqmg, "Uada Shanren de
shixi wenti" (The problem ot Bada
Shanren's genealogy), Diioyiiii (Art
Clouds Quarterly) 27 (April 1990):
97-100: Wang Fang>'u and Richard
M. Barnhart, Mnsici of ilic Loriis
GcvdcirTlic Lije and An oj Biuin
SIhiiiivii (Ib26-I7i)5) (New- Ha\-en:
Yale University Art Gallery and Yale
University Press, 1990), 23-32. For
the theory th.it Bad.i Shanren was
the lieir ot tlie last Ming emperor,
see Wei Zivuii. liiulit Slhiimii iiii
(The riddle of Bada Shanren)
(Taipei; Liren shiiju, 1")")S).

2 Wang Shiqing, "Bad.i Shanren de
jiaxue" (The family education ot
Bada Shanren), in Gtn;oii^ wciiwk
yiickaii (National Palace Museum
Monthly) 96 (March !>)')!): (hS-SS.

3 Chen Ding, "Bada Shanren
zhuan" (The biography of Bada
Shanren), in Wang Fangvu, ed., Badii
ShtiiiH'ii liiiiji (All antholog\' ot essavs
on Pa-ta-shan-|en) (Taipei; Guoli
bianyiguan Zhonghua coiigshu
bianshen \\ ei\ uaiihiii. I')S4)
1:531-32.

4 For Flou'ci Stiidici. see Wang
Zhaowen, ed., Biulti Shiiiiicii qiiaiiji
(Complete works o( Bada Shanren)
(Nanchang; Jiangxi meishu chuban-
she, 2000) 1:3-17. For another
album, FloH'cii, in the Shanghai
Museum, that shares similar charac-
teristics, I; IS-27.

5 For Bada's acc]uaintances, see
Wang Shiqing, "Bada Shanren de
]iaoyou" (Bada Shanren's circle of
friends), in ibid., 5:I()'M- I I

6 For the inscriptions on Poiliait of
Ccilidii. see Wang and Barnhart,
MfhUi of I lie Loliis Golden, 37 — 11.

7 For Bada s madness, see Wang
Shiqmg, "Bada Shanren de bmgdian
wenti" (The problem of Bada
Shanren's madness), in Da Goiii^ Boo,
July I, l')S4.

8 For Shao Changheng's "Bada
Shanren zhu.m " (The biography ot
Bada Shanren), see Wang Fang)'u,
ed, Bddd Slidiiicii luiiji 1:527-28.

9 James Cahill,"The 'Madness' m
Bada Shanren's Paintings," m Ajio
l^iiiiko konkyii (Asi.m culture studies)
17 (March I'W')), 1 l'-)-43.

10 Zhang Zinmg (loseph Chang,
"Bada Shanren sh.inshuihua de van-
jiu" (Researches on the landscape
paintings of Bada Shanren), in
Gi(s,'ii(;a irciiii'ii yiickoii (National
Palace Museum Monthly) 97 (April
1991): 87-115.

11 For detailed accounts of Bada
Shanren's marriage, see Wang and
Barnhart, Mihici of the Lonn Cdidcii,
50-55.

12 Rao Zong\ i, "Chanseng
Chuanqi qianhou qi minghao zhi
liesliuo" (Interpretations ot the vari-
ous pseudom ins ot the Chan monk
ChuaiK|0, Diioyiiii (Art Clouds
Quarterlv) 15 (October 19S7):
150-53.

13 C)ii Bada's becoming a profes-
sion.il .irtist, see Rao Zongyi,
"Zhileiou cang Bada Shanren shan-
shuihua |i qi xiangguan wenti "
(Landscape paintings by Bada
Shanren in the Zhileiou collection
and related issues), in 3 ///;(,' yiiiiiii
sliiihiio yoiijiii fdolunliiii jilu
(Proceedings ot the s\ inposium on
paintings and calligraphy by Mmg
i-iiiiii). Zlioiigi^iio ii'ciiliihi ydiijiiiiiio
.xiiclido (Journal ot the Institute ot
Chinese Studies) 8, no.2 (December
1976): 507-15: English summary,
516-17.

14 Wang Shiqing, "Qingchu
huayuan bajia huamu xmian"
(Dated paintings b\' eight masters in
the earh- Qiiig dynasty: part 3) .\;//
iinr^liii (New arts) 2(1, no.3 (IW9):
74 - 78.

15 Hui-shu Lee, "Bada Sh.uiren's
Bird-and-Fish Painting and the Art
ot Transtormation, " Aiiliiva ol A>ioii
All 44 (1491): 6-26.

16 For Fisli oini Biui> in the
Shanghai Museum, see Wang
Zhaowen, ed., i3i7i/ii Slioiiivii qiioiiji
2:2()S-73: tor a discussion ot shc^hi.
see Hui-shu Lee, "Bada Shanren's
Bird-and-Fish Painting," 8-9.

17 For a reproduction of this
album, see Wang Zidou, coinp., Bodii
Slioiiicii sliiiliiio il (Collection ot
calligraphy and painting by Bada
Sh.inien) (Beijing: Renmin meishu
chubanshe, 1983) 2:38-53; tor dis-
cussion of the significance of this
album and Bada Shanren's land-
scapes, see also note 11), especially
pages ')h-4<J.

18 For discussion ot Southern
School painting and its practice, see
Wen C. Fong, "Tung Ch'i-ch'ang
and Artistic Renewal," m V /ic
Cciiluiy ofTtiiiy; Cli'i-rli'din;.
/.W-/636, ed.Wai-kaiii Ho
(Kansas City; Nelson-Atkins
Museum of Art, IW2) 2:43-54.

19 For works by the Four Great
Yuan Masters, see James Cahill, Hills
Beyond 0 Riiri: Chinese Poinliiig o/
ilieYiioii Dyiidsty 1279-1368 (New-
York: Weatherhill, 1976), 68-74;
85-127.

20 For Shitao and Bada Shanren, see
Jonathan Hay, Sliitdo: Pdiiiiiin; oiul
Modcriiily in Eoiiy Q/z/i; ( 'Iniio
(Cambridge: Cambridge Uni\-ersity
Press, 2001), 126-31.

21 Hu Zhe and Jin Ping,"Mei
Geng nianpu" (The chronology- of
Mei Geng), Diioyiiii (Art Clouds
Quarteriy) 53 (December 2000):
294-320.

22 Wang and Barnhart, Master of llie
Lotus Garden. 253.

23 For the Doiighu ("alligraphv and
Painting Society, see Huang Du,
"Luo Mil nianpu" (The chronology
ot Luo Mu), Diioyiiii (Art Clouds
Quarterly) 25 (June 1990): 122-27.

24 HuYi,"Bada Shanren xinkao"
(New disco\-eries on Bai-|a Shanren),
in Bdda Sliaiiieii yoniiii (Studies on
Bada Shanren), ed. Bada Shanren
Jinianguan (Nanchang; Jiangxi ren-
min chubanshe, 1"»86), 303-14.

25 For Bada Shanren's tinal tribute
to Ni Zan, see Wen C. Fong, "Stages
in the Lite and Art of Chu Ta
(1626-1705 t .a.." Arclnres of Asian
Art 40 (1987); 20.

26 See Hui-shu Lee, "Bada
Shanren's Bird-aiid-Fish Painting."

27 Wang and Barnhart, Master of the
Lotus Garden. IS--)-')!.

28 For Zhuangzi's "Discussion on
Making All Things Equal," see
Burton Watson, trans., I'lie Complete
Iliirfa of CliiidiniT:ii (New York;
Columbia University Press, 1968),
36-49.

The Call igraphy and Seals of Bada Shanren

QIANSHEN BAI

FROM BADA'S EARLY LEARNING TO THE FORMATION
OF THE BADA STYLE OF CALLIGRAPHY

For centuries before the time ot Bada Shanren, calligraphy had been regarded as one of
the most important achievements m Chinese art. A calligrapher was obliged to follow the
prescribed sequence ot strokes that make up each character while arranging the characters
111 a tixed tormat — usually vertical columns — so that the flow ot his brush sketched a
sequential path that was believed to have a temporal dimension akiii to music. Because
calligraphy is nonrepresentational and because it is aftected by individual skill, style, and
imagination, it is seen as a spontaneous product ot hand, mind, and tccling and theretore
has long been viewed by art critics and scholars as "a delineation ot the mind" (xinliiiii).
Calligraphy is thus seen as an act ot the "whole being," representative ot ones personality,
and an important means ot selt-cultivation and selt-expression. Since in Chinese art theory
a civilized mind produces civilized calligrapliy, an individuals achievement in calligraphy is
viewed as an index to his degree ot selt-cultivation.

Because gooci calligraphy was regarded as a reflection of a high level ot selt-cultivation
and cultural achievement, calligraphy was the principal art that every member ot the edu-
cated elite felt obliged to study. Because it was practiced, appreciated, anci collected mainly
by the literati, Lothar Ledderose has defined Chinese calligraphy as an "art ot the elite."'

Calligraphy, unlike painting, is nonrepresentational. There have long been stories ot callig-
raphers whose achievements were inspired by watching natural phenomena, but in reality,
the toundation ot calligraphic learning and creation has been the copying ot ancient master-
works, and It has been through the diligent study of ancient masterworks that calligraphers
have acquired skill and competence.

Bada's extant, early calligraphic works bear out this learning process, tor they demonstrate
that, in establishing liis own idiosyncratic style, he tirst thoroughly studied various ancient mas-
ters." An album ot painting and calligraphy executecl m 1659 (when Bada was thirty-three)
now in the collection ot the National Palace Museum (Taipei) is the earliest extant work by
Bada. Its several calligraphy leaves and inscriptions on paintings are invaluable tor studying
Badas early work. The album uses several ditterent script types, including the running, cur-
sive, clerical, clerical-cursive, and regular-script types, and these types were written m the
styles ot several ancient masters, demonstrating Bada s solid, extensive training in calligraphy

The second leat ot this album is a painting ot a taro root (fig. I), on which Bada
inscribeci a poem describing an old man on Mount Hongya (a mountain m Xinjian cc^iunty
injiangxi) baking a taro root in winter as a treat tor his guests. Although the poem may
allude to the plain life Bada led m a Buddhist monastery, its elaborate regular-script callig-
raphy taithtully tollows the style ot the Tang master Ouyang Xun (557-641). Ouyang is
tamous tor his rigid application ot various rules in executing strokes and constructing
character structures (tig. 2). Like Ouyang's calligraphy, every stroke in Bacias leat is care-
fully executed, character structures are well balanced, and the overall composition of the

it

f 1

twenty-eight-character inscription is neat and orderly. As a Zen monk ot the Caociong sect,
otten Bada laced his poetry with humor, but the calligraphy on this painting is serious, even
ritualistic, showing that calligraphy has its own aesthetics, and that these do not always relate
to the literary content ot its texts. Thus, the aesthetics ot a calHgraphy can be enjoyed sepa-
rately from its text or, alternatively, can be appreciated m terms of the possible tension
between its calligraphic style anci the hterary theme of its presented text.

Three characters in this leat are worth noting: the secoiui character of the first column
and the tirst and last characters ot the second column (Chinese is written trom top to bot-
tom and in columns from right to left). The last stroke in each of these three characters is
horizontal, with its right end given a distinctive upward tlip, a characteristic of clerical
script, a precursor ot regular script. This teature is interesting because, during Badas time, or,
more precisely, since the Tang dynasty (618 — 907) onward, horizontal strokes in regular script
tended to rise slightly from left to right, while their right ends were usually cut at a diagonal
that slanteci toward the lower right, as we can see in the work ot Ouyang Xun (see tig. 2).
This slanteci ending, created by downward diagonal pressure trom the brush, was in one
sense an improvement over the horizontals in clerical script, tor it better accords with the
convention of writing characters from top to bottom because it sends the brush in the
direction ot subsequent strokes below, speeding the pace of writing.

Thus, the upward tlick at the right ends ot horizontal strokes in pre-Tang calligraphy
eventually Vv/as replaced by the blunter, downward-pointing terminus of post-Tang regular
script. Bada, by introducing outdated upward flicks into his horizontal strokes, alluded to
ancient styles and introduced an archaic tlavor into his calligraphy. This strategy ot incorpo-
rating elements ot ancient writings into calligraphy to lend it an archaic tlavor was a com-
mon practice among calligraphers in the last half of the seventeenth century.

hi contrast to Ouyang Xun's rigid brush method, leaves three and fifteen present a much
livelier style of calligraphy that shows that Bacia also was influenced by Chu Suiliang
(596 — 658), another Tang calligraphy master (tig. 3). In Chu's "Preface to the Sacred
Teachings" {Shcii^iao xii), written in 653, commonly taken as his best work in regular script
(tig. 4). the application ot the so-called press-and-lift (ti'an) technicjue is more visible than it
is in Ouyang s work. This technic^ue is heavily dependent on the structure of the typical cal-
ligraphy brush, which has a tuft usually made trom sheep, weasel, or rabbit fur. It is cone-
shaped, and Its tip IS pointed. Pressing and lifting the brush, especially on absorbent paper.

FIG. 1 Detail, Tiiiv Root, leat 2
trom Flower Sruiiics, by Bada
Shanren (1626-1705), China,
Qing dynasty, 1659 — 60. Album
of fifteen leaves, ink on paper,
24.5 X 31.5 cm. National Palace
Museum, Taipei.

FIG. 2 Detail trom ]iiiiliciioooii'^
liqiiiiiiiiiiiio (Inscription on the
Sweet Wine Spring in the
liucheng Palace), by Ouyang Xun
(557—641), China, Tang dynasty,
632. Rubbing mounted as an
album, ink on paper, dimensions
unavailable. From Yang l\enkai,
ed., Siii Jang Wmlai sliiifa
(Calligraphy of Sui,Tang, and Five
dvnasties), vol. 3 of Zlioinn^iio
iiiclslni qiiiiiiji: Sliiifd zliiiaiihchiiiii
(A comprehensive selection ot
Chinese art: calligraphy and seal
carving) (Beijing: Renmm mcishu
chubanshe, 1989), 38, pi. 21.

14

FIG. 3 Poem in regular script,
leaf 15 from Floit'er Studies, by
Bada Shanren (1626-1705),
China, Qing dynasty, 1659-60.
Album of fifteen leaves, ink on
paper, 24.5 x 31.5 cm. National
Palace Museum, Taipei.

produces a great variety of stroke widths because, when the brush is pressed, the stroke
becomes wider, and when Hfted, thinner. In Chu's model and Bada's leaves, a horizontal
stroke usually begins with a firm downwarci press. As the brush moves to the right to make
the body of the stroke, it is slightly raised, then is pressed again at the end, leaving the mid-
dle section ot the stroke thinner than at either end. Viewers ot this technique get the
impression that the brush ciances as it moves, creating a rhythm akin to that ot music and
dance. That is why critics say ot beautitul calHgraphy that "the brush smgs, anei ink dances."

Besides use ot the press-and-litt technique, Bacia's calligraphy in Chu's style has other
features. For instance, vertical strokes always begin with a sophisticateci start and continue in
graceful curves. Because they are relatively thin, they make a work seem more spacious and

FIG. 4 Detail from Sliciiyido xii
(Preface to the sacred teachings),
by Chu Suiliang (596-658),
China, Tang dynasty, 653.
Rubbing mounted as an albtun,
ink on paper, measurement
unavailable. From Yang Renkai,
ed., Sui Tang Wudai sinifa
(Calligraphy of Sui,Tang, and
Five dynasties), vol. 3 of
Zlwnggiio iiicisliii qiidiiii: Sliiifii
zimaiikcbidii (A comprehensive
selection ot Chinese art: calligra-
phy and seal carving) (Beijing:
Renmin meishu chubanshe,
1989), 68, pi. 33.

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^ A,

\% ^

Sis

Si

1 ^

ft

1

I ^ >I ^

(V

FIG. 5 Detail from Tlirce Works
after Wang Xi:lii, by Dong
Qiclung (1555-1636), China,
Ming dynasty, 1636. Handscroll,
ink on paper, 25.1 x 305.1 cm.
Freer Gallery ot Art. Smithsonian
Institution, Washington, DC, pur-
chase F1982.3.

FIG. 6 Detail troin Floiirn. by
Bada Shanren, China, Qing
dynasty, ca. 1671. Handscroll, ink
on paper, 22 x 192.5 cm. Palace
Museum, Beiimg.

relaxed. Sometimes, character structures (particularly of the fifth character m the first col-
uniu from right) are purposely unbalanced, their unstable structures diminishmg the ritualis-
tic orientation of regular-script writing and giving it a li\'ely, mdividuahstic flavor.
2 Ditterent types ot linear strokes and character structures convey ciifterent meanings and

1 emotions and provoke different feelings. Bada "s calligraphy m running anci cursive scripts in
? the 16i6()s and the 1670s convincingly demonstrates that he closely followed the style ot the

< late Ming master Dong Qichang (1555 — 1636) (fig. 5). No one occupied a more central

2 position m seventeenth-century calligraphy than Dong. The richness and broad variety ot his
° calligraphy prevents a comprehensive discussion here ot the scope of his training and achieve-

< ment. But m a larger historical framework, Dongs calligraphy followed the so-called model
Q book traciition that had been touncieci on the elegant, graceful art ot Wang Xizhi (ca. 303-

< ca. 361 C.E.) and by the Tang ciynasty had become codified. Not only are Dong's models

J drawn trom this elegant traciition, but his personal style is also innately graceful and retined.

2 There is an undated handscroll (it likely dates tronr around 1671) of tlowers by Bacia in

i; the collection ot the Palace Museum (Beijmg) whose running-cursive script bears striking
<

" resemblance to the calligraphy ot Dong Qichang (tig. 6). Precisely and delicately executed,

J the strokes have an effortless tlow, and those that change direction bend in round rather tlian

16

^1 % % t ^ I: J|

FIG. 7 Detail from SV/v// /a;
'/Jta\io DatoiH^, by Huang
Tmgian (1(145-1105), China.
Song dynasty, IKH). Handscroll.
ink on paper, 34.1 x 552.^^ cm.
Art Museum. Princeton
Unuersity, gift of John B. Elliott
{W)2.22).

FIG. 8 Copy of Eiiloiiy on ilic
I 'iniic of Wine, by Bada Shanren
(l(i2(i- 17(15), China, Qing
dynasty, undated. Handscroll. ink
on paper, 25.7 x 531.1 cm.
Shanghai Museum.

in angular turns, making the brush movement tluici and elegant, in acidition, the characters
are widely spaced, w hich creates a relaxed, eas\- atmosphere thixnighout the work. The sec-
ond halt ot the seventeenth centurv was extremeK' turbulent, but cluring his stay in a Zen
Buddhist monastery about this time, Bacia managecJ to achieve a relatively tranquil mental
state through his use of Buddhist practices; at the least, he was in a peaceful mood when he
wrote this handscroll ot tlowers.

However, there was an abrupt change m Badas style m the late 167(K when he sought
inspiration trom the calligraphy c:it Huang Tmgjian (1(I4.S— 1 105), a master ot the Northern
Song dynasty (960-1127). Huang's running-script calligraphy is characterized by an elon-
gateei character structure that has a dense concentration ot strokes at its core, trom which
elongated strokes radiate to the structures periphery (tig. 7). Huang's strokes were otten
written with a purposely trembling hand, vicldmg strokes with uneven edges and frequent
changes m brush ciirection. A handscroll executed by Bada around 1680, now m the collec-
tion of the Shanghai Museum, is the best-known example ot Bada's calligraphy m Huang's
style (tig. 8). The text ot this scroll by the wme-loving scholar Liu Lmg ot the Western jm
dynasty (265-317 c:.E.) is entitled "Eulogv on the Virtue ot Wine" ( Jiiidc song) a work that
detends and praises indulgence m alcohol.

As ill Huang's calligraphy, the character structures in this scroll are often elongated with
long strokes stretching trom the center. It would appear that Bada's brush had a stifter tutt
than Huang's, anci he wielded it swittly. The pointed tip ot his brush lett many sharp stroke
ends, especially beginnings. He reduced the vibration ot brush movement, making strokes
more straighttorwarci anci much more angular than Huang's. Though the text is about wine,
Bada may have written this scroll when sober. Even so, there are striking variations m char-
acter size in this calligraphy. Four ot its columns contain only two large characters each,
compared to tour or five characters m each of the remaining columns, hi retrospect, already
associated with Bada's mcorporatit^n ot Huang Tingjian's style were hints ot the dramatic
changes that were to transtorm his later style.

Bada Shanren made his tiiial name change in 1684. Not only tiid he use "Bada Shanren"
until his death, but it became his best-known name to posterity. It was also in this year that
he began to practice a distinguished calligraphic stvle of his own that later became known as
"Bada ti," or Bada style. Although his calligraphic wcM'ks betore 1684 showed something ot
his idiosyncratic character tonus, they also contained the clearly identitiable stylistic traits ot

F I G . 9 Rcihhit, album leaf, by Bada
Shani-en (1626-1705), China,
Qmg dynasty, undated. Album of
nine leaves, ink on paper, 23.8 x
37.8 cm. Chen Family Collection,
Singapore. From Wang Zhaowen,
Bada Sliaiircii qtiaiiji (Complete
works ot Bada Shanren)
(Nanchang: [lang.xi meishu
chubanshe, 2000), 1:64.

such specific ancient masters as Ouyang Xun, Chu Suiliang, Dong Qichang, and Huang
Tingjian, among others. After 1684, this was no longer the case, so dramatic were Bada's
styHstic ninovations, and we may treat 1684 as marking the maturity of Bada's calligraphy.

Tlie earliest extant work that bears the signature "Bada Shanren" is an album formerly in
the collection ot Wang Fangyu, that Bada macie in the fill of 1684 (see appendix, signatures,
no. 2). Its text is the Saiptiirc of rlic Inner Radiances (Ncijinq^ i'l'S)- Copying Buddhist and Daoist
sutras, or scriptures (.xicjini^), has a long tradition m China. Copying is not only a matter of
transmitting religious teachings; it is an activity that accumulates religious virtue. One may
copy the holy texts personally, especially on such special occasions as the birthciay of
Shakyamuni. Or, should one have more money than time, one might commission scribes to
do the copying. This practice is often aimed at a specific goal; for instance, blessing ailing par-
ents m hope ot a cure.

Bada's objective m copying the Scripture of the Inner Radiances remains unclear. He may
have been studying Daoism at this time because, in the colophon he attached to his copy
ot the Scripture, he briefly mentions some ot the similarities and ditferences between Daoist
and Buddhist teachings, which suggests that these were a current topic of study for him.
Although Bada had been a Buddhist monk tor many years, he and many other intellectuals
of the seventeenth century were also deeply interested in Daoism. While religious texts usu-
2 ally are accorded the dignity ot regular script, Bada's copy is a mixture of the regular and

^ running scripts. Even so, one can sense a seriousness in his style. Some strokes are connected

i to each other, showing a degree ot informality, but few characters interconnect, making the

< work fairly easy to read, as with regular script. And while character structures tilt to the

5 right, lending them a lively, asymmetric balance, the sutra has none of the dramatically elon-

° gated characters or brushstrokes characteristic of Bada's "Ode on the Virtue of Wine" m the

< style ot Huang Tmgjian, which was discussed above.

Q Are there clues as to what may have inspired Bada to include elements ot running script

< in his transcription ot the Scripture of tlie Inner Radiances? hi his colophtin to this work, Bacia

J mentions two points that may be relevant. One is that he refers to Buddhist sacred teachings

^ (Slien^fiao). A closely relatecl text, the "Pretace to the Sacred Teachings" (Sluinifiao xu) of

:^ the Tang period, exists in several engraved versions, one ot which was carved in running

<

script and thus may have served as precedent for Bada's approach. The second point is that
J his colophon notes that his transcription of the Scripture of the Inner Radiances follows the

18

calligraphic maimer at the Two Wangs (Wang Xizhi and his son Wmg Xianzhi, 344-3S8 C.E.),
althongh the stylistic relationsliip ot the Sciiptiiir of the Iiiiici R<u!iniiics to the style ot the
Two Wangs is a loose one. What makes the Two Wangs relevant is that the one tamons
engraved version of "Preface to the Sacred Teachings" (Badas possible inspiration tor writing
sacred documents in running script) was commissioned by a liuddliist iiu)nk Hiuren (active
ca. 7th century), in which all the characters were taken by Huiren h-om Wang Xizhis run-
ning-script \^'rltlngs. Thus, there were two factors behind Badas writing a sacred text m
running script m the style ot Wang Xizhi, anci Bacia mentions connections to both ot them
111 his colophon.

It appears that during this period Bada became deeply interested in exploring a new spa-
tial dimension, hi a painting album ot 1684 now m the ci41ectiiMi cit the Cdien tamily m
Singapore, both Bacla's paintings and inscriptions show his interest m "surtace."' Taking the
leat with a rabbit as example (tig. ')), it can be seen that the minimized depiction ot the rab-
bit demonstrates no interest in the ciepth ot the painted object. The brushwork ot this paint-
ings inscription also tends toward tkitness, lacking three-dimensional eftects that could ha\ e
been achieved by applving the sti-called centered-tip techniejue, m which the tip ot the
mt^ving brush is kept m the niKklle ot the strokes being written. Character structure in this
inscribed poem is no longer elongated, but the two extra-large characters m the third col-
umn are so eye-catching that one pauses to ponder why the artist adopted such a dramatic
fashion ot writing. However, Badas interest in '■surface ' lasted only about five years. It was
followed by a new exploration, this time mti^ depth.

STUDY OF ANCIENT EPIGRAPHY AND BADA'S LATE CALLIGRAPHY
Bada, toward the end ot the U)(S()s. gradually developed a vigorous style whose archaic flavor
was strongly reminiscent of ancient seal and clerical calligraphy. There are twn album leaves
in the former Wang Fangyu collection that bear a painting ot a cjumce and an inscription m
running cursive by the artist.' This inscriptions appearance is less dramatic than that in the
("hen famiK' album ot 16S4. But what is ot interest here is the works brush movement,
w Inch w as executed by an evenly pressed brush, resulting in lines of generally uniform width.
This technique is polar to that used in the work in Chu Suiliangs style discussed above, w-here
die constant use of the press-and-lift technique continuously varied the width of the line, hi
the present work, the even pressure of the brush makes the strokes firm and round. Although
the e\'en-pressurc technique seems less complicated than that ot press-and-litt, it takes great
skill to execute with a calligraphy brush, which naturally lends itself to variations in brush
pressure. Despite this hidden difficulty, the strokes in this wcirk are vital and richly substantial,
qualities that characterize Badas calligraphy from the late lf)S()s to his death.

The stylistic innovation ot Badas use ot even brush pressure may haw had several
sources. Wen C. Fong argues that during this period Bada was interested m reconstructing
what he thought had been the appearance of the calligraphy of Wang Xizhi, the sage callig-
rapher ot the Eastern |in dynasty (3 17— 42( )). ' Yet, there was another possible influence ot his
new style. In the former Wang Fang\''u cc~)llection, there is a rubbing ot a cursive work
(mounted as a handscroU) entitled Sliciionui tic (Holy Mother Manuscript) by the Tang
dynasty monk calligrapher Huaisu (ca. 725-ca. 799). Bada must have treasured this rubbing.
This is evident because the rubbing bears his seals (show'ing that he possessed it), and
because he took the trouble to make a transcription of Huaisu's cursive text that today is
part ot the rubbing handscroll (see appendix, seals |in order ot appearance], nos. 19, 22, and
US [identical impression]). Huaisu's calligraphy m the rubbing was made with the same
evenly pressed brush as in Bada's late style and may have helped inspire it.

The third possible source tor Bada's plain, round calligraphy may have been ancient
inscriptions on metal and stc^me objects. Attempts to draw inspiration and arrive at historical

accuracy regarding the past from these artitacts had much tc:> do with the new intellectual
treiicis ot the second halt ot the seventeenth century." The tragedy ot dynastic transition m
1644 forced many leading figures ot the loyalist movement in the early Qmg to rethink the
causes of the rise of the Manchus at the expense ot the Ming. Increasingly, empirical
research was aimed at more accurately understanding the classics anci history. This transition
in the intellectual climate had sigmticant mtluence on the art ot calligraphy. As ancient
epigraphs, which were regarded as original textual sources tor studying the classics and his-
tory, became gradually moi'e important in the tormation ot the new intellectual discourse,
the calligraphic roughness and primitiveness of these sources were also appreciated and
acivocated by a number of leading calligraphers. Searching tor steles and collecting rubbings
of ancient steles and artifacts became an important part of cultural and intellectual lite. Use
ot the epigraphical seal and clerical scripts exceeded that ot the previous dynasties in both
quantity anci quality. Theoretical ciiscussions ot epigraphical calligraphy were also unprece-
dentedly trequent. But m the seventeenth century, the emergence ot a competing style
mocieled on the plain, rough epigraphs on ancient bronzes and stone artitacts wrought by
anonymous artisans caused a revolution m calligraphic taste.

Fu Shan (1606- 16<S4/85), a northern philosopher, caUigrapher, anci leading theorist ot
this new taste, persistently advocated that ancient epigraphs in clerical and seal scripts should
be the primary sources ot calligraphic innovation. He claimed that "unless one practices
seal- and clerical-script calligraphy, even if one has studied calligraphy for thirty-six thou-
sand ciays, m the enci, one is still unable to comprehend the key source ot this art."^

Beginning probably in the 168()s and extending throughout the 169()s, Bada stiaiied
ancient epigraphs. A key piece ot evidence testifying to Badas interest in epigraphy is his
album ot calligraphy trom 1694 entitled Copy of the Stone Diiiiii Iiiiciiptions and tlic Stele at
Mount Goiilon, now in the collection of the Nanjing Museum. It is one of the tew surviving
works ot Bada's seal-script calligraphy (fig. 10).' The "Stone Drum Inscriptions" (Slii(;n wen)

20

are ten odes engraved on ten gunidrop-shaped stone monuments commemoratmu; a hunting
event during the Warring States Period (473 — 221 HA:.E.).The inscriptions on these drums
are written in tlie so-called great-seal script (hg. 11). The characters ot this early script type
retain pictorial elements, character structures tavor symmetry, and strokes have a constant
brush pressure that gives them the same w idth. Badas copy ot these inscriptions is a sponta-
neous interpretation. It iiiclucies his copies ot eight ot the ten odes m the same calligraphic
style and script type as the original, and each copy is followed by his research notes m small
characters. While Bada's copy ot the inscriptions is rather casual, the curving lines were exe-
cuted in even brush pressure, but many strokes have an unpolished, rough appearance that
resembles the original ruineci inscriptions on tlie stone drums. Thus, the overall tkivor ot
Badas copy is plain, archaic.

More importantly, Bada not only studied and practiced ancient inscriptions m seal script
during this period, he also endeavoreci to incorporate the method and flavor of seal script
into his calligraphy in other scripts. A magnificent hanging scroll ot cursive-script calligra-
phy executed by Bada around 1699 manifests this effort (see cat. entry 22). In this work,
strokes do not begin and end with sharp termini but with the blunt and rounded termini
that result from the hidden-tip method. In this work, the brusli moves vigorously against the
surface of the paper. Although there is hardly a press or a lift when writing the strokes m
this work, the brush encounters resistance, and some strokes show the roughness anei varied
ink tones ot a drying brush. Badas brush method also creates three-dimensional effects.
There is little dramatic action m this kind of writing, but it achieves richness thix^ugh sim-
plified forms, the solidity of rounded strokes, anci variations m ink tonality.

C^alligraphic works of the Ming and Qing dynasties sometimes consisted of sets of hang-
ing scrolls rather than of a single scroll. Depending on available space, these sets usually
numbered from four to twelve scrolls m even-numbered increments. A work by Bada m this
format (formerly m the collection of Wang Fangvu) comprises four hanging scrolls (see cat.
entry 28)." The text of each scroll is a cursive transcription of a Tang poem. The four scrolls
can be taken as a set because they are consistent in text and style; yet, because each bears a
complete poem and Bacias signature and seals, they can also be hung individually. What
interests us here is that, like the hanging scroll discusseci above, many of the strokes are
rL~)und and solid because the pressure on the brusli was kept relatively even. While some

strokes are ink-saturated, others are dry, leaving streaks of white that create an effect termed
by calligraphers "flying white."

Seventeenth-century caUigraphers' increasing interest in ancient epigraphy was ampHfied
by a rising passion tor seal carving. Seal script had long since become archaic, having been
used only rarely m everyday writing since the Han dynasty (206 B.C.E.-220 C.E.). Since the
Spring and Autumn (770-476 B.C.E.) and early Warring States periods, however, seal carving
and seal script had maintained an intimate relationship, since the legends of most seals were
cast or carved in seal script. Late-Mmg-literati seal carving was no exception. The preference
shown tor seal script resembles the attitucie ot some prestigious Western universities that
continue to print tlieir diplomas m Latin to show their pricie m a long tradition. Originally
the ordinary writing of the Shang (1600- 1050 B.C.E.) and Zhou (1050-221 B.f.E.) dynas-
ties, seal script, once dropped trom common use, acquired through its later obscurity an aura
ot antiquity that lent authc^rity to seals, which already were otten symbols of political, eco-
nomic, and cultural power. To be able to carve and read seals, the literati studied seal script.
In the seventeenth century, carving and reading seals became an important, if limited, means
of access to ancient scripts and led to a greatly increased interest in ancient scripts and in the
pursuit ot an archaic tLix'or m calligraphy. Thus, m studying ancient epigraphy even as he was
actively engaged m seal carving, Bada followed a cultural trend of his time.

BADA SHANREN'S SEALS

Closely related to calligraphy is an art m which Bada engaged throughout his life: seal carv-
ing. We know from Chen Ding's (17th century) biography of Bada that he was good at it.'"
The record was turther contirmed by a recently discovered letter that Bada wrote to a Mr.
Juanshu (active late 17th century), m which the aged artist told his friend that he had
designed a seal tor him but had asked a tamous seal carver to do the engraving." Bada's sig-
nature dates this letter to the 1690s; probably by this time Bada was too olci to carve seals by
himselt, but still made seal designs and had someone else carry out the actual carving.

Bada's involvement with seal carving was no accident; his family had a tradition of seal
carving. His grandfather Zhu 13uozheng (1541-1589) was a friend of He Zhen
(1535- 16(M), the foremost seal carver of the late Ming, a period that witnessed the first
heyday ot seal carving as a literati art. Seal carving has existed in China tor more than two
thousand years. Since the thirteenth century, it has been customary tor artists to affix their
seal impressions to their calligraphies and paintings. A calligraphic work is not usually
vieweci as complete until pressed with the artist's seal; even when there was no signature,
there was usually a seal impression. By the late sixteenth century, seal carving was emerging
as an independent art form. When the Italian missionary Matteo Ricci (1552-1610) arrived
in China in the late sixteenth century, he was impressed by the wide use of seals in ciaily
and artistic lite:

The use of senh for stiiiiipiiio ohfecfs is well hiioii'ii iiinl reiy coiiiiiioii here. Not only letters cire
sqfeoiiiirdeel with ii se<il hut they ore iiffixed to private writiiios, poems, pictures, and many other

thino}. As a rule, they are made of some more or less precious materials, such as rare a'ood,

marble, irory, brass, crystal or red coral, or perhaps of some semiprecious stone. M<niy shilled
workmen are eui^ai^ed in mahino ifiese seals and they are reoarded as artists rather than arti-
sans, because the characters em^rared upon the seals are rery old forms, not in common use, and
hioh esteem is ahrays accorded fo those n'ho display any hnowledi^e of antiquity.'-

It was 111 the late sixteenth and early seventeenth centuries, long after calligraphv and paint-
ing had already become an indispensable part ot literati lite, that seal carving became a flour-
ishing torm ot artistic expression tor the literati.

FIG. 12 IllipiCSSlOIl ot B<ida
Shanrcn's seal Xiji<iin;\'iyiiin;
ii'din;siiii (Descendant of the
Yiyang Fi ince of Xi]iang).
From Wang Zhaowen, ed.,
Badd Slidincii qiuiiiji (The
complete w orks of Bada
Slianren) (Nanch.nig: |iangxi
meishii chiibaiishe, 2(10(1) 4:'M().

The rise ot the literati seal-carving inovenient was made possible bv the rciiitroduction
ot sott stones as the ineduim ot choice m the second halt ot the sixteenth century.' ' The
permanent establishment ot soft stone as the primary medium tor seal carving was revolu-
tionarx' m the historv ot C'hmese seal carx ing. As (aines Watt has pointed out, "the necessary
condition for the birth ot this new art form, or rather the transformation ot an ancient artis-
tic craft into a meciuim ot literati expression, was the use ot soft stones (or soapstone) tor
seal carving."" Thereafter, the metal, jade, and ivory previously used by seal carvers was rap-
idly replaced by sott stone. Exploiting tci the full the intrinsic nature ot soft stone, seal
carvers applied chisels m an increasingly spontaneous manner, leaving gashes and cuts that
allowed viewers to trace the process ot carving and thus to appreciate the carvers skill.
Natural breaks and cracks createci by this more spontaneous execution added to their seals
a flavor ot antiquity. Seal carving had reached a new level ot sc^iphistication.

Like works by most ot his contemporaries, the majority ot Bacia's paintings and calligra-
phv, except his letters, bear his seals. Thus tar, scholars have described ninety or so different
seals used by Bada from the I65()s to his death, some ha\ ing identical legends.'' These seals
can be divided into several categories: name seals, phrase seals, and picttinal seals. A distinc-
tive cultural phenomenon in C^hma is that "the Cdrinese literati assumed a number ot per-
sonal names, m addition to the formal name they acquired at birth. The formal name was
reserved tor official and cereiiwnial use, and emploved as a [orm ot address only by ones
superiors. Among their friends and in their writings and art, the literati referred to themselves
by one or more stvie names (c/j, chosen to reflect a particular character or virtue, or poetic
names (Ihio), which might call to mind certain abilities, desires, or a memorable event." '

According to Wang Fangyu's study, Bada used about twenty different names over his lite,
"many ot which pixn^cle important insight into his selt-image."' Bada also used a number
ot seals that bear phrases or sayings ot selt-expression. Few pictorial seals are tound among
Bada's seals. An album leaf in the former Wang Fangyu collection given to the Freer Gallery
of Art bears one such seal (see appenciix, seals, no. 10). Its irregularly shaped impression con-
tains the image ot a mountain (slum) and the Chinese character tor "mountam. 'The shape
IS derived from the image ot real mountains. The List twii characters "Shanren" m "Bada
Shanren" mean "Mountain man," so this seal, although nommalK' picton.il, may have serveci
as a signature seal.

To modern readers, Bada is a riddle. He never used formal names except his Buddhist
names, such as Chuanqi and Fajue. Modern schiilarship show s th.it Bada's original name
was likely to have been Zhu Tonglm, but he never used this on his paintings, calligraphies,
or seals.'"

Bada habitually concealed his identity. I'art ot this cover-up was a series ot names he
used to mask himself trom public exposure. That Bada used sii many ditterent name seals
and phrase seals may reflect identity crises that he faced during a period ot social ciislocation.
Bada once impressed a seal reading "Descenciant ot the Yiyang Prince ot Xijiang" (Xijiang
Myiiiio u'iiiiosiiii) on his own portrait (fig. 12). The portrait had been painted tor him by a
triend in U)74, at a moment m his lite when he was considering leaving the Budcihist tem-
ple and reentering the secular world. During this period, the last serious challenge to Qing
rule in China seemed to be on the verge ot success, and the generals who led the se>-called
War ot the Three Feudatt:)ries held out the promise of a Mmg restoration.' ' As Ricliard M.
Bariihart notes, "This is apparently the only time m his lite after 1645 that Bada openly
identifled himself as a prince ot the talleii Mmg house."^" He even placed his seal in the
imperial position, at the top center of the painting. But by the enci ot the I67()s, the
promised restoration had tailed.

Bada's phrase seals sometimes provided readers with specific, concrete information about
his problems. For instance, "C^introl madness" (("Jiciiitiii) was a seal B.ida began to use around

23

1678, when he was sufteniig h-oin purported madness (fig. 13). Scholars have long pondered
whether Bada was naad. Some scholars have drawn a curious parallel between Bada Shanren
and van Gogh, tor both men were artists ot extraordinary originality anci both experienceci
episodes ot madness.'' Yet, Barnhart writes that "while van Gogh has come to be the almost
inevitable paradigm ot the insane artist, Bada Shanren may not ever have been really mad.
Possibly at a tew periocis ot his enciangereci and troubled lite he teigned insanity as the best
means by which he could maintain his lite and satety. In doing so, he would have been fol-
lowing an old tradition."-- This point is supported by Wang Fangyu's convincing argument
that Bada Shanrens madness was likely teigned madness (yaiio kiiaiij^), ratlier than a true men-
tal disease.-' However, our present concern is not whether Bacia Shanren was suffering from
mental disease or how serious it may have been, but why he reported his madness in his
work. A physical problem was turned into an artistic expression that had profound meaning.

The dynastic change reduced many literati, especially those m ehte positions, to lifestyles,
social stations, or reputations that were much lower than the\' had been. This torced them to
redetme their socio-political roles as they coped with a rapidly changing world. From about
1692 to 1699, Bada used another two-character seal, Gtii'ai (fig. 14). According to Jiang
Zhaoshen s research, these two characters reter to two kinds ot grass. Giii, polygala m Latin,
IS a medical herb that has another Chinese name, yiuiii:lii, or great ambition. Also, long
tradition m Chinese literature has associated waiigsuii, princes, with faiigcao, tragrant grass.
Contrarily, ai, moxa, is a grass that since ancient times has been regarded as common or
vulgar. By combining princely polygala and humble moxa in making a phrase seal, Bada
implicitly indicated his identity shitt from an imperial Ming prmce with great ambitions
to a painter ot interior status.

No seal stones used by Bada have survived; there remain only their impressions on his
works. For this reason, we are not sure which among these imprinted seals were carved by
Bada. It IS very likely that Bada carved, or at least designed, some of his own seals because a
number ot them share some ot the idiosyncratic teatures ot his calligraphy. During Bada s
time, the ancient seals made m the Han dynasty were tirmly canonized as the primary mod-
els tor modern seal carvers. By the late Ming, many Han seals had sutfered the depredations
of time (tig. 15). These cjualities ot ciecay now became so aesthetically desirable that seal
carvers attempted to reproduce thenr m their works. The seal critic Shen Ye (active ca.
second halt ot the l6th century) relates some amusing anecdotes;

]]1iC!i ]]cii Pciio [1498—1573] made a seal, he put tlie seal in a box upon coiiiplctin<^ its
can'ino and asked a yoiino attendant to sliake it all day. When Clien Taixne jaetii'e ea. I6th
ceutni yl carred a seal, lie threw the stone seal on the oioniid sei'enil times until parts of it
were broken , oii'iuii i^iitique flai'orr^

FIG. 13 Impression of Bada
Shanren s seal Chcdiaii (Control
madness). From Wang Zhaoweii,
ed.. Bada Sluvircii qitaiiji (The
complete works ot Bada
Shanren) (Nanchang: Jiangxi
meishu chubanshe, 2000) 4:910.

FIG. 14 Impression ot Bada
Shanren's seal Giii'ai (Polygala and
moxa). See appendix, seals, no. 19.

FIG. 15 Impression ot a Han
seal, China, Han dynasty,
206 b.C.E.-220 C.E. Bronze.
Dr. Paul Singer Collection ot
Chinese Art of the Arthur M.
Sackler Gallery, Smithsonian
Institution, Washington, D.C.,
RLSI997.48.2031.

A considerable number ot Badas seals followed this new trend. Take, for example, a seal
impression reading "Immortality is achievable" (Kc de shenxian) that Bada trequently used
trom 1686 until his cieath (tig. 16). This seal was carved m a spontaneous manner, leaving
gashes and cuts that alloweci viewers to trace the process of carving. Some strokes are cielib-
erately broken, anci one area ot the ground between two strokes is marred. This damage
contributes an anticjue teel to the work. Whereas the structure ot the seal "Immortality is
achievable" is well balancec-l, another of Badas seals, reading Fu xian (fig. 17; its exact conno-
tation IS unclear), follows a different Han model: all its vertical lines lean to one side;
together with the gashed Hues, this seal attempts to create a casual, naive, primitive flavor.

As m his calligraphy, Bada's seals reflect his stylistic ciiversity Besides the mode of Han
ruination discussed above, some ot Bada's seals were carved with extraordinary precision anci
clarity. For instance, the seal Ren'an (fig. 18; Bada's studio name), which first appeared in

FIG. 16 Impression of Bada
Shanrcn's seal Kc dc slicii.xiiin
(Inmiortality is achievable).
See appendix, seals, no. 18.

FIG. 17 Impression ot Bada
Shanren's seal Fii xiaii. From
Wang Zliaowen. ed., Biulii
Slidiiicii qiidiiji (The complete
works of Bada Shanren)
(Nanchang: Jiangxi nieishn
chubanshe, 2000) 4:^^l I.

U)72, IS carved in a carchil and cielicate manner. Stylistically speaking, it follows the tradition
that developed after the Ynan dynasty (1279- 1368). The two characters m small seal script
are well strnctureci ancl placed, and each line is meticulonslv and gracetiilly executed, lend-
ing the work a retmed elegance.

Thanks to scholarly endeavors over the past tour ciecades, it is now possible to identify'
the characters m most ot Bacia s seals. Nevertheless. Bada s seals often present us with more
problems than solving c]uestions about his identity and intentions. Often, the exact meanings
of Bada's seals remain elusive. Take, as an example, the "Mipper" seal that Bada used most tre-
quendy late in his life (fig. \^)). Many scholars tcnci to read this seal as "l^ada Slianren"
because it appeareci m 1684, the year Bada started using the name "Bada Shanren," aiul the
design of this seal may look like, m some w ay, a combination of the four characters tor "ba,"
"cia," "shan," and "ren." Nevertheless, this reacimg is by no means conclusive,'' and Bada's
seals clemand future research.

To conclude, Bada Shanren was one of the mc^st creative and talented artists of the early
Qiiig periocT During his lifetime, he diligentlv studied ancient works, including epigraphs
on ancient metal and stone objects, and, in a highly conscious effort at stylistic mntwation
and self expression, he created a st\ie of great iiidiviciual ciistmction. While Bada's calligraphv
was closely associated w ith his life experiences and intellectual pursuits, it is often difficidt
to understanci in what manner his seals establish his identity and personal philosophy, fc^r the
exact meanings of many of them remain elusive, even when we can reaci their characters.
These "mysterious" seals, together w ith Bada's stylistic mclusiveness, have mtngueci later
generations, have invited repeated investigations ot Bada Shanren ancf his art, and have
produced endless, sometimes inexcusably misguided interpretations of his w'orks and lite.

FIG. IS Impression of Bada
Shanren's seal Rcii'nii (one of
Bada's pseudonyms). From Wang
Zhaowen. ed.. Bada Sliaiircii
qiidiiji (The complete works of
Bada Shanren) (Nanchang:
Jiangxi meishu chubanshe, 2(K)0)
4:910.

FIG. 19 Impression ot Bada
Shanren's "slipper" shaped seal.
See appendix, seals, no. 16.

NOTES

1 Lothar Ledderose, "'Chinese
Calligraphy: Art of the Elite," in
]]'oihl Ait:Tliciiic of Unity in
Diversity, ed. Irving Lavin
(University Park: Pennsylvania State
Univei-sitv Press, 1989). 2:291-94.

2 This article has benefited from
scholarship on Bada's calligraphy by
Wang Fangyu, "Bada Shanren de
shufa'" (The calligraphy ot Bada
Shanren). in Biii/.i Sluiiircii liiiiji (An
anthology ot essays on Pa-ta-shan-
]en), ed.Wang Fangyu (Taipei: Guoli
Bianyiguan Zhonghu.i coiigshu
Bianshen weiyuaiihiii, 19S4),
2:379-410, and Richard M.
Barnhart, "Reading the Paintings
and Calligraphy of Bada Shanren,"
in Wang Fang)'u and Richard M.
Barnhart. Mastci of tlic Lottie Gauii ii:
The Life and All d/ Bada Slianren
(1626-1705) (New Haven: Yak-
University Art Gallery and Yale
University Press, 199(1). S3~2I6.

3 The meanings of the paintings
and inscnbeil poems in this album
have been thoroughly exanimeci by
Richard M. Barnhart (with transla-
tions of all the poems) in Wang
anci Barnhart, Mastci of tlie Lotus
Caiden, ''7-101. My discussion
here is focused on the style ot the
calligraphy.

4 For Richard M. Barnharts
detailed discussion of these two
leaves, see Wang and Barnhart.
Master of the Lotus Caideii. I 10 — 1 1.

5 Wen C. Fong. "Stages in the Lite
and Art of ChuTa (a.d.
1626-1705)." Archives of Asian Art
40 (1987): 14.

6 Bai Qianshen (Qianshen Bai),
"Qmgchu ]inshixue de fu.xmg dui
Bada Shanren wannian shuteng de
yingxiang" (The influence of the
revival ot the study ot jiiislii.\iic m
the early Qing on late calligraphy
of Bada Shanren), Cii^ioin; .xiiesliii
jikaii (National Palace Museum
Monthly) 12, no. 3 (April 1995):
89-124; see also Qianshen Bai, Fii
Sliaii'i ]]orlil:Tlic Tiaihtoriiiaiioii of
Cliincic Caihgrapliy in ttie Sevcntecntli
Ceiiliiiy (Cambritigc. Mass.: Harvard
University Asia Center, 2003),
chapter 3.

7 This passage is found in Chen Jie's
SInifa oiifi (Random notes on callig-
raphy), 111 L'inoln conohc (Various
writings published by Pmglu), ed.
fin Yue (Beijing: Beijiiigshi zhong-
guo shudian, 1985), 5b.

8 For a detailed discussion of this
album, see Gu Biiig, "Spontaneous
haterpretation: An Album of Bada
Shanren's Seal-Script Calligraphy,"
Orientations 2(1. no. 3 (May 1989):
05-70.

9 Richard M. Barnhart's discussion
of this set of hanging scrolls can be
touiid in Wang and Barnhart. Mistei
of tile Lotus Garden, 206-7.

10 See Wang Fangyu. Bada Slianren
iiinji, 1:531.

11 This letter, mounted as one leaf
of an album, is now in the collec-
tion ot the Shanghai Library and
published in Wang Zhaowen, ed.,
B<T(fi( Sliaiiieii ijiianji (Complete
works of Bada Shanren) (N.iiichang:
Jiang.xi meishu chub. iiislie. 2000).
2:260.

12 Matteo Ricci and Nicolas
Trigault. Cliina in tlie Si.xtcentli
Ceiitin y: Tlie journal of Mniliciv
Ricci: 1583-101(1, trans. Louis J.
Gallagher (New York: Random
House. 1953). 24.

13 The use of such stones in seal
carving can be traced to much ear-
lier times; some scholars, such as Sha
Menghai, place the beginning ot
literati seal cirving as c.irK" as the
Northern Song, arguing that Mi Fu
(1051 — 1107) may have engaged in
It. The Yuan dynasty painter Wang
Mian (1287-135'-)) was one of the
earliest ot the literati to carve seals
in soft stone, according to some tex-
tual evidence. See Sha Menghai, Sha
Aleii<^liai Innslin cong^ao (Collected
discussions on calligraphy by Sha
Menghai) (Shanghai: Shanghai
shuhua chubanshe, 1987), 188-8').
Recent archaeological excavations
have confirmed that soft stone was
being used for seal carving before
the si.xteenth ceiitin-\'. See Sun
Weizu, Sini Uei'ii liiiiyiii iven^ao
(Sun Weizu's writings on seals)
(Shanghai: Shanghai shudian. 1999).
183-87.

14 James C. Y. Watt, "The Literati
Environment," in The Chinese
Scliohii's Studio: Ailistic Life in the Late
Miiio Peiiod, ed. Chu-tsing Li and
James C. Y. Watt (New York: The
Asia Society Galleries, 1987), 11,

15 The seals Bada used can be
found in Wang and Barnhart, ALisier
of the Lotus Garden, Appendix A,
245-50. Discussions of Bada's seals
can be touud in Zhou Shixin. Bada
Shauieii ji qi yiilni (Bada Shanren
and his art) (Taipei: Huagang shu|u.
1970). l()7-77: see also Xiao
Hongming. Bada Shanren yinhiiaii
sliiio (Interpretations of Bada
Shanren's seals, studio names, and
ciphers) (Beijing: Beijing Yanshan
chubanshe, 1998).

16 Wang and Barnhart. ALister of the
Lotus Gaiden, 30.

17 Ibid.

18 For a discussion in English ot
Bada's original name, see Wang and
Barnhart, Mastci of the Lotus Caideii.
24-34.

19 Jonathan Spence. The Seaicli for
Modern China (New York: W. W.
Norton cV Co., 1990), 49-53.

20 See Wang and Barnhart. Master of
the Lotus Gaideii. 14.

21 For a discussion ot Bada
Shanren's madness and his art, see
lames Cahill,"The 'Madness' in
Bada Shanren's Paintings," .-l;7ii
hiinha keiikyii (Asian culture studies)
17 (March m')): I l')-43. Cahill's
article deals chietlv with Bada's
paintings. But in order to support
his argument, Cahill also uses some
elements of Bada's calligraphy as
evidence. For instance, Cahill argues
that Bada's calligraphy "has its own
elements of the cryptic — the use of
uncommon seal-script forms or
rare, archaic forms of characters: an
abstruse wav of writing the dates on
some of his works." He also implies
a connection between the strange
aspect of Bada's calligraphy and his
"madness" (page 122). Cahill was
not aware that writing unusual and
archaic tcirms ot characters was a
fashionable game among late-Miiig
and early-Qmg calligraphers. Such
calligraphers as Huang Daozhou
(1585- 1646), Wang Duo

(1593-1652). and Fu Shan, who had
no records ot madness, also loved to
write strange tonus of characters.
For a detailed discussion of this
game, see Bai Qianshen, "Miiunatsu
Shinsho no shoh5 ni okeru itaiji
shivo no fCichd ni tsuite" (A study
ot the fashion ot writing strange
characters in late-Ming to early-
Qing calligraphy), Slioron 32 (2001):
181-87, and no. 33 (2002);
Qianshen Bai, Fu Shaii'i \ ]'oild,
chapter I.

22 Wang and Barnhart, Master of the
Lotus Caiden, 13.

23 Wang Fangyu. "Bada Shanren
bingdian he yangkuang," (Mental
illness and teigning madness in Bada
Shanren) Gi(i.'()i;t; iveiiivii ynehiiii
(National Palace Mu seum Mc")iithly)
102 (September 1991): 16-23.

24 Jiang Zhaoshen, Shiuingxi dniiiia
snihi (Notes on viewing paintings in
the National Palace Museum)
(Taipei: National Palace Museum,
1987), 57-58.

25 Shen Ye. Yin tan (Talking about
seals), in Lidai yinxiie liinwen xiiiin
(The study of seals through the
ages, selected texts), ed. Han
Tianheng (Hangzhou: .Xiliiig yin-
she, 1999), 64.

26 Some of Bada's works bear both
a seal with this design and another
of four characters reading "Bada
Shanren." Since it is rare tor a
Chinese artist to put two name seals
with the same legend on the same
artwork, it may be that the text of
the "slipper" seal is something other
than "Bada Shanren."

27

Catalogue

STEPHEN D. ALLEE

1 Lotus ca. 1665

Album of eight double leaves; iuk on paper
AVERAGE 25.4 X 33.66 cm

Bequest from the collection of Wiing Fangyu anci Sum Wai, donateci m their memory by Mr. Shao F. Wang
OUTSIDE LABEL (NOT SHOWN) by Zhang Dacjian (1899— 1983), rtmning script

Lotus Albiiiii by the Buddhist monk Chuancji |Bada Shanren].The sobriquets Fajue and Ren'an, which appear
m the seals, were alternative names used by Bada Shanren while he was a nronk.Yuan [Zhang Dac^ian]'

TWO SEALS Zlicuii^\'iiaii (squai'c mtaglio), D<7i];i//; (square reliet )

LEAF 1

NO SIGNATURE

ONE SEAL Fajiic (oval relief )

TWO COLLECTOR SEALS

Zhang Can (19th-20th
m century?), one seal: ZImiig
o Can siyin (square intaglio)

< Unidentified collector, one
u seal: illegible (intaglio half-seal)

30

LEAF 2

NO SIGNATURE

TWO SEALS Slii CIninnqi yiii
(square intaglio), Rcii'aii
(s(.]u.ux- reliet )

NO COLLECTOR SEALS

31

LEAF 3

NO SIGNATURE

TWO SEALS Shi Cliiuviqi yiii
(square relief), Rcii\iii (square
relief)

TWO COLLECTOR SEALS

Zhang Daqian (1899-1983),
two seals: Daj'eiiotaiii^ (square
veliet ),Jiclioii yilnni siio dc
(rectangle relief)

32

I

LEAF 4

siciNAi URE Chuanqi

TWO SEALS Fiijiic (oval relief),

Rcii '(111 (square relief )

ONE COLLECTOR SEAL

Unidentified collector, one
seal: a .\ i^iuiiizIiii (intaglio
halt-seal)

LU
<

33

LEAF 5

SIGNATURE Fajuc shi Chuanqi
ONE SEAL Ren' an (square
relief)

NO COLLECTOR SEALS

34

LEAF 6

SIGNATURE FajUC

ONE SEAL Rcii'dii (squjre
relief )

NO COLLECTOR SEALS

35

LEAF 7

siGNATUKE Chuaiiqi
ONE SEAL Rcii'dii (square
relief)

NO COLLECTOli. SEALS

36

PIP
m

LEAF 8

SIGNATURE Chiuuiqi
ONE SEAL Shi Cliiiaiiqi yiii
(square intaglio)

ONE COLLECTOR SEAL

Wang Fangyu (1913-1 997) ,
one seal: Shijizhihi (sqLiare
intaglio)

37

2 Scripture o \ th e Inner Radiances o f the Yell ow Court

four excerpts in running-standard script, 1684

Albiini ot twelve leaves; ink on paper
AVERACiE 22.0 X 1 1.66 cm

Purchase — Finids provided by the E. Khc^des and Leona B.
Carpenter Foundation in honor ot the 75th Anniversary of
the Freer (iallerN' ot'Art

LEAF 1

Stiiii:,! I (paraphrase)-

Betore the Lord ot the Viiid. who resides anions^ purple auroras
m the Heaven of Highest Purity, / The Most High Jade Dawn
Ruler ot tlie Great Dao / Dwelt at ease in the Palace of Stamens
and Pearls, composing lines in heptasyllabic meter, / Dispersing
change to the Fi\e Shapes and transtiirming the ten-thiiusand
cieities, / These comprise the Yellow Court Scripture and are
called the Inner Verses, / Which harmonize the heart and set
the embryo immortals to dancing in the Triple Cannabar Fields,
/ Causing the Nine I3reaths to glisten and gleam anci emerge
from the empvrean ot the brain / And the pupils ot the e\'es
under the divine canopies ot the brows to emit a purple mist. /
This IS calleci the [adeText which can be scrutinized w ith a pure
heart: / By recitnig it ten thousand tunes one will ascend to the
Triple Heaven, / With it one may dispel the thousand calannties
and cure the hundred illnesses, / And undaunted by the tell
depredations of tigers and wolves, / One may also thwart old
age thereb\' and extend ones \-ears forever.'

NO SIGNATURE

THREE SEALS Bdiliiia (rectangle intaglio; leaf 1), Bada Sliamrii
(square intaglio; leaf 11), Xiaslidiipiiiiixuaii (scjuare intaglio; leaf 1 1)

LEAF 12

Colophon ill luiiiiiiio scrijH, by Bada Shanren

Long ago, when someone asked, "Are Daoism and
Ccinfucianism the same or clitferent," [Ruan Zhan, ca. 279 — ca.
308 t:.E.] answered, "Are they not the same?" hi the sequence of
officials from Chenliu, was it Ruan Qianli [Ruan Zhan] who
amended the deficiencies of Chenliu? I ha\'e followed the callig-
raphy ot the Two Wangs to present this. Enjoymg the ram on the
first day in the seventh lunar-mc^inth of the jiazi year [August 11,
I6S4|, 1 inscribed |a colophon] after the "Inner Radiances" for a
second time, Bada Shanren.^

TWO SEALS Lii (square relief), Kc ilc .<licii.\iiiii (square intaglio)

FOUR c;ollec:tor seals

Unidentitied collectors, two
seals: '^oin^lic shizliciii^ (square
relief; leaf 1), H((/(//// sliciiiliii^
(rectangle relief leaf 1)

Wang Fangyu (1913-1997),
one seal: Fangyu (rectangle
relief leaf 1)

SumWai (1918- 1996), one seal:
She'll Hiii (square relief leaf 12)

■A

f I

'ft

4

ft '%

LEAF 2

#1 rf^

^5 *

it

V:7

4

AC

1^

h

L

>
If

}■

1

1^

LEAF 1

-i 5* ■%

i' it ^

^ if n

s s

'f'l i'' ^

A" 4'

JI^C A.

1^

4

14

4"

'5

•^5 ^

■t

^ 3

^3

4

?

5

4^ 1

If

^J3

>6v

ih

LEAF 4

LEAF 3

39

-k

'r jfj

-J,

it

■f
4-

f

i

4

ft

•f

LEAF 6

LEAF 5

LEAF 8

I:
f

it

3:-

i

■if

k
fr

ft

f

1^7

n

i

f

1

t

,-7

r-

-J

f ^

1^1

I;
4

i1 «€ a

iS.

ik ^

ii- 4^

4- -f

if.

7t> i

•(*

lit ^

^ #

LEAF 7

40

-I'

t

-J*
T

I

A

J-

k

r

fit

t'

it

5

i

t

tM> ii,
* # i^t

^ti 4'

4

Li

1 ^"j

LEAF 10

LEAF 9

i ^5

if

I:
f

V-

LEAF 12

|[ 4 tI'
H/t # f

! ^

1

t?7

LEAF 11

41

3 Lilac Flowers and Calligraphy

in running-cursive script, 1690

Two album lea\ cs; ink and co\oy on paper, and ink on paper
20.1 .X I4.() cm and 20.1 .\ 14. cm

Bec]uest from the collection ot Wani; Fangyu and SumWai,
donated m then- menuiry by Mr. Shao F. Wang

LEAF 2

Cdlligiiipliy in I iniiiiiio-cinsit'c
script

INSCRIPTION Spring of the
ociii;u'ii year | Uiy(j], imitating
the painting style of Baoshan
|Lu Zhi, 1496-1576]
B.ida Shanren

ONE SEAL Sliaii
(oval intaglio)'

TWO COLLECTOa SEALS

Wang Fangyu, c:)ne seal: Ilii/zt,'
Fdiniyii (linked-sc]uare relief)

Sum Wai, one seal: Shrii Hiii
(scjuare relief )

m

42

LEAF 1

L/7i/( iloii'cis''

SIGNATURE Pjiiited by
Bada Shanren

ONE SEAL Hiiazim
(rectangle relief)

TWO COLLECTOR SEALS

Wang Fangyu (1913-1997),
one seal: W'liiii^ Faiii^yii
(linked-sqiiare reliet )

SiimWai (1918-1996), one
seal; Slicii Hiii (square relief^

Bamboo, Rocks, and Small Birds

Hanging scroll; ink on paper
164.0 X cm

Bequest from the collection at Wang Fangyu anei SumWai,
donated m then- memory by Mr. Shao F. Wang

iNSCRU'TKiN Fn'st miMith ot summer m tlie rciiclicii year
|May ]6-Iune 14, l()')2J,""m\olved in affairs"/-'''"'-'/"/-
Bada Shanren'

THREE SEALS Ziiifii (rcctaiigle relief ), Slipper seal w ith border,
Bada Sliaiircn (rectangle intaglio)

Colophon ill iiiiiiiiiio <ciipr, by Zhang Daqian (1899—1983)

Modern entlulsla^ts |ot painting| prize small hanging senilis
the most, with around three teet as the norm. This custom has
spread throughout north anci south alike, but is particularly
prevalent in theWuzhong [region of jiangsu Province]. There,
whenever a dealer ot antiqmties comes across a large-scale
hanging scroll, he \\ ill chop it down in size hoping to better
his price. The damage [such a practice has inrticted| on the
hearts blood of earlier masters is more vicious and cruel than
[the tcTrtures ot] an executioner. On acquiring this scroll
recently in Hong Kong, I telt sorry tor its broken state and
got the idea of adding a few strokes to fix it up. While I could
not make it shine like the masterpiece it once w as, or immedi-
ately restore the painting to its tornier appearance, I pnwitely
compare [my adcied brushstrokes] to a bhnci man's cane: As
consolation, they are better than nothing. Spring day in the
iciiclicii year |I952|, |painted| and inscribed b\' the student
Dacjian m the Datengtang |studio].''

THREE SEALS Zlhiiio)]iaii >iyiii (square relict), Daqian /// (square
reliet ), (^iaii qiaii qiaii (square intaglio)

SEVEN COLLECTOR SEALS

Zhang Daqian (1.S99-I9S3),
SIX seals: Doiigxi naiihci :lii ivii
(rectangle relief), /^;c.'-7// ivmiyi
(square relief), Xanhci doiioxi
zhi you xiaiiosiii wn liicli (square
reliet ), Dioiio fii (square
relief), Qinln Ihw onion qiiio
(horizontal rectangle intaglio),
Dajeiigtaii^i Jiaiijiain^ Knncaii
Xncge Kugna nioyiian (rectangle
relief)

Wang Fangyu (1913-1997),
one seal: Sliijizhiln (square
mtaglio)

45

l^lt ~ f-f ¥ ^ ^ MM mwmm
5 Falling Flower, Buddha's Hand Citron, F^ibiscus, and Lotus Pod 1692

Four album leaves; ink on paper

AVERAGE 21.9 X 2(S.S Clll

Bequest from the collection of Wang Fangyu and Sum Wai, donated m their memory by Mr. Shao F.Wang

LEAF 1

hdlliiio Floii'cr'

SIGNATURE "Involved in
aftairs" (slicslii). Bada Shanren
ONE SEAL Slipper seal with
border

THREE COLLEC~TC:>R SEALS

Zhang Daqian (1899-1983),

two seals; I^dlciKitaiio [iaiijiiiiio

Kiincdii Xiic(;c Kiniiia iiioyiiiiii

^ (rectangle relief ), Z//((;/i,' 'i i/i;;/

o (sc]uare intaglio)
o

< Wang Fangyu, one seal;

u Sliijizliilii (square intaglio)

46

LEAF 2

liiiihllid's Hand Citivii

SIGNATURE "Iiivolved in
affairs" (slicslii). Bada Shanren
TWO SEALS Slipper seal
without border, Slicslii
(rectangle nitaglio)

TWO collec:tor seals
Zhang Daqian, two seals:
Niiiihci iloiii^xi yon xiaiiosiii
It'll hicli (square relief ),
Civio:ln daqian (square rehet )

47

LEAF 3

SIGNATURE Bada Shanren
ONE SEAL Slipper seal with
border

TWO COLLECTOR SEALS

Zhang Daqian, two seals:
Bicslii iviii^yi (square relief),
Cii//^t,' daqidii
(sqtiare intaglio)

LU
13

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o

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48

LEAF 4
L('f(/y Pod

iNscKii'TiiiN Summer, titth
lunar-month ot the ivinlicii
year | June 15— July 13, i()''2J,
"involved in atfairs"
Isheslii]. Bada Shanren
ONE SEAL Slipper seal
with border

THREE COLLECTOK. SEALS

Zhang Daqiaii, three seals:

Daqidii Ihioiiiciio (reetangle

relief ), Z/((;;;^'in(7;/ (square ^

intaglio), Daqiaii xi <

(reetangle relief)

6 Excerpt from the "Preface to the Sacred Teachings"

in running-standard script, ca. 1693

Album leaf"; ink on paper
26.5 X 14.3 cm

Purchase — Funcis provuiecl by the E. Rhodes and Leona B.
Carpenter Foundation m honor ot the 73th Annuersary ot
the Freer Clallery of Art

|Xuanzang| received the ultnnate mstructions trom the leading
sages ind obtained the true teachings trom the most eminent
worthies, investigated arcane principles within the gates of mys-
tery and exhausted the quintessential properties of abstruse
tenets. The doctrines of the One Vehicle and Five Canons raced
like fleet horses through the fields of his mmd and the texts of
the Eightfold Storehouse and Three Baskets rolled like billowing
waves trom the cicean ot his Hps. Thus trom all the lands through
which he traveled, he gathered together the essential texts of the
Tripitaka [Buddhist Canon], in 657 parts all told. His translations
spread throughout Middle Xia |Cdima|, proclaiming abrciad his
surpassing karma and draw ing the clouds ot compassion trom the
westernmost extremity to pour down the ram of dharma on
these eastern outskirts. Deficiencies in the sacred teachings are
again made \\ hole and the masses in their sms are restored to a
state ot grace, dousing the dry blaze ot this burning house that
everyone may be sa\ed trom the paths ot ei ror, and illuminating
the murky waves on the ri\er of desire that all nray safely reach
the Other Shore.

It IS known that evil betalls one because of karma and good
rises tor one due to causality, while success and failure all come
down to what we depend upon |m life]. For example, if a cassia
tree grows on a high ridge where clouds and mist can water its
blossoms, or a lotus emerges trom limpid waves where flying
dust cannot detile its leaves, the lotus is not pure because it is so
b\ nature, nor is the cassia perfect because of am thing inherent,
but rather, because the [cassiaj relies on something high, so petty
matters cannot entangle it, while the [lotus] depends on some-
thing clean, sci dirty things cannot stain it. Thus, if even an
unknowing plant or tree can better itself through finciing a good
[environment], then how much more can we sentient humans
seek for blessings though we have no cause to receive them.'"

POSTSCRIPT Copied [liii] after the writing of Chu Henan
[Chu Suiliang, 596 — 658]. Bada Shanren
ONE SEAL Slipper seal without border"

3
O

o

ONE COLLECTOR SEAL

<

<
u

SumWai (1918-1996):
Slieii Hut (square relief)

50

51

7 Landscape after Dong Yuan ca. 1693

Album leaf; ink on paper
2().3 X 14.3 cm

I'lirchase — Funds provided by the E. Rhodes and Leona 13.
Carpenter Foundation in honor ot the 75th Anniversary of
the Freer Gallery of Art

til

INSCRIPTION After Heiyuaii
[Dong Yuan, died ')62|'-

Ntl SIGNATURE

ONE SEAL Slipper seal
without border'-'

TWO COLLECTOR SEALS

Wang Fangyu (1913-1997),
one seal: Wang I'dii^^yii
(square relief)

SumWai (1918-1996), one
seal; Shen Hiii (square relief)

V*. .f^^f

<=■*■>

Combined Album of Painting and Calligraphy:
"Grieving for a Fallen Nation" ca. 1693-96

Album of fifteen leaves; ink on paper

PAiNTiNG AVERAGE 24.'' X 17.1 cni; callisi;raphy average:

24.5 X 16.2 cm

Bequest trom the collection ot Wang Fangyu anci Sum Wai,
donated m their menuiry by Mr. Shao F.Wang

OUTSIDE LABEL (NOT shown) by Naito Torajiro (1S66— 1934),
running script

Album ot poetry ancH painting bv Bada Shanren. Label slip
inscribed by NaitoTora"

TWO SEALS Tora (oval relief ). Koiuin (rectangle intaglio)

LEAF 1

frontispiece by Shanc]i,
Prince Su (1866-1922),
standard script

"Grieving tor a Fallen
Nation." Inscribed by C~>uvik
at the request ot Mister
Wenqmg

THREE seals Diliosi (square
reliet ), ,S// i]iiiu\iii{i (square
reliet), Oiiyiiiiii (square
intaglio)

LEAF 2

Lainlicapc

NO SIGNATURE

ONE SEAL Slipper seal
without border

ONE COLLECTOR SEAL

g Dai Zhi (act. lS2()s-4()s),
< one seal: Zliiiioii(i iiiiwaii
5 (square relief )'

54

LEAF 3

NO SIGNATURE

ONE SEAL Slipper seal
without border

ONE COLLECTOR SEAL

Dai Zhi, one seal: Zliiiioiig
iiiiii'dii (square reliet )

LEAF 4

Lilllilntipc

NO SIGNATURE

ONE SEAL Slipper seal
without border

ONE COLLECTOR SEAL

]3ai Zhi, one se.il: Riiii:lioii
Dili Zlii jiiiiisliiiih:; (rectangle
relief)

LEAF 5

LdllllsCilpC

NO SIGNATURE

ONE SEAL Slipper seal
without border

ONE COLLECTOR SEAL

Dai Zhi, one seal: Riiii:lioii

Dai Zhi :i Pcizlii jiaiicaiio m

sliiiliiiii zlhiiio (square reliet ) <

57

SB

(?] i ^

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© n,

LEAF 6

Foiii pocnii ill I iiiiiiiii^-stdiidiii'il scnpt , by liada Shanren

POEM 1

A chunk ot ixuk is tins Youquan,

A pine tivc stands above the flood;

When yon hear the Monntain Man is coming,

He has |ust departed with the vvliite ck^jnds.'"

POEM 2

Famous authors write many ciocuments.
But it is their lotty songs that pull one m.
To return to the top ot Slanting Stairs.
At Upright Stairs, moved by past experience.'"

TWO COLLECTOR SEALS

Dai Zhi. one seal: Pcizlii
qiiiplhiiii; (scjuare relict )

Zhang Daqian (1899-1983).
one seal: Zlhiiio Daqian iliaiioiiiaii
daji you l ili (square intagho)'^'

POEM 3

Once you undo a girdle-gem and go tar away.
How do you get the girdle-gem yc~>u left behind?
Departing by carriage through the city's eastern gate,
I race my chariot up the great shelving rocks.""

POEM 4

A slender form is meet to hide one's shadow.
Among white clouds, writing about to stop.
How is it he spent one night in the garden.
And ne.xt mcTrning it was the southeast park?"'

pc:)STSCRiPT On the seventh day m the fourth lunar-month ot
the hiiii^zi year [May 7. I(i9()|, 1 have recorded some poems that I
wrote to inscribe on paintings and am sending them to Master
Baoyai [Wu Chenyan. 1663-after 1722] for his correction. Bada
Shanren"

TWO SEALS )'ao:liii (rectangle relief). Slipper seal without borcler

LEAF 7

(^ojty of ii coloplioii ill iiniiiiiii^-stiuiiLiiil iaipi, b\ Bada Shanien

Wang Xizhai has graced one side of this painted tan with a
picture ot Pcin^Lu's Upsidc-Doii'ii Reflection, which he did tor
the sixtieth birthday of Mister Shifen.The next year m the tirst
ciecade ot the toiirtli hinar-month, he sent my "elder brother"
Shangshu to me, so that I could inscribe |]")u Fu s] "Seeing Oft
Secretary Li the Eighth" on the other side, and record it as a tan
ot combmed calligraph\- and painting."'^

SIGNATURE Bada Shanren

TWO SEALS Slipper seal without border, Kc i/c sliciixiiiii
(sc]uare intaglio)

TWO con ECTOR SEALS

Dai Zhi, one seal: Riiiiziioii
Diiislii Bciu'iiiiloii fiiiii:lieii
(scjuare reliet )

Zhang Daqian, one seal: Zluni^i m
Yiiiiii iluiiipliou (square reliet) <

59

THKEE COLLECTOR SEALS

Dai Zhi, one seal: D<ii Zlii
Noiigfii iiiiji yiii (rectangle
relief)

Zhang DaLjian, one seal: Niyiiii
(rectangle relief)

Wang Fangyu (1913-1^97),
one seal: Sliiji:liilii (square
intaglio)

60

LEAF 10

77/'ii poems ill iiiiiiiiiio-itaiidiUil sciipt, by Bada Shanren

POEM 7

The voting man plays "Up on Phoenix Hill,"
The niaulen plays "Leaves of Purest Gold."
Whichever lord understands their music,
Commands our great province on this day."

POEM S

Ram gathers, my boat has nowhere to he.
Clouds move, my chamber is in the lotus.
I have looked all through the south.
And made this picture ot the Shining Hills.

POSTSCRIPT I have written out several quatrains that
I composed in the Yellow Bamboo Garden to inscribe
on paintings, so that Master Baown ma\' correct them.
Bada Shanren '

ONE SEAL Slipper seal without border

o i ^ ^

^ 2

t<9 ^7

4

J*]

(t£7

J ^4 7

5

^ If

rrzi

LEAF 9

'I'liirc poems ill niiiiiiiii^-stiiiiiLird script , by Bad.i Shanren

POEM 4

Sailing full tilt otYoi West Pass Hill,

To which border does the east \\ iiid blow?

The time is right for big-headed stripe.

So they have come down the Coral Stream.-"

POEM 5

IV1\' latticed windows tavor all directions.
And cooling breezes often come along.
A thousand in gold welcomes the primeval man.
For a million, he ll make the picture of a tiger.-'

POEM 6

On toward dusk, a single goose flies,
The morning bell tolls three or four.
My old friend down at River Mouth,
Talks with the dialect of Lake Mouth.'

LEAF 8

Tliivc poems in niiiiiiiiii-sidiidiiul sciijH, by liada Shanren

POEM I

Once I looked in the heart of a lotus seed.
And found a lotus tltnxer with its rc^iots;
Breaking open lotus pods on Ruoye Creek,
The fine young gentlemen in this painting.-'

POEM 2

Yellow bamboo and more yelkiw bamboo.
Coming and going all across Tongzhou;
InTongzhou when divided into tenths,
A single stem ec]uals a pair ot carts.-"

POEM 3

They raised sons at the Kaiyuan Temple,
Take a look, now all are white ot hair;
Flipping to strike a spai row-hawk pose,
Why don't they plant some willow trees?-'

ONE SEAL

I'ci'di (rectangle relict )

LEAVES 11-12

Colophon III niniiiiio Si'iipr. by Wii t'liangshuo (1844- l')27).
Ink on liglitly sized paper; single slieet w ith fold. 30. 2 x 41.3 cm

Bada Shanreii's given name was Da, and his courtesv name
Xuege. He bore the surname Zlui. .md w as a grandson of the
Prince of Shichengfu [Anliui | . After |the fall of the Ming
dynasty in| the jiiiilicii ve.ir | l()44|, he absconded into an "empty
gate" |became a Buddhist monk| .ind called himself Monk
Cleshan. As people say it is unfilial to have no progeny, Geshan
let his hair grow again jrejc^ined the laity m order to marry] and
tc~)und reclusion in calligraphy ,ind painting. Sometimes he still
calleci himselt Donkey Geshan. His paintings have man\'
eccentricities and people are often unable to understand the
poetic lines he inscribed on them, tor as they say, "Heartbreak
m has its hidden reasons."

^ This album is owned by my tellow art lover Wenc]ing. It

< contains four leaves of landscape painting and four leaves where

u Bada recordeci some ot his own poems, and all are ec]ually works

of the divme and untrammekxl classes. I once purchaseci a small
h.inging scroll by Shanren. which was painted with an anticiue
vase holding a single branch ot tangerine and inscribed with
|a poem ot] sonre twenty characters. When my former teacher
Miaow'eng [Yang Xian, LSI 9- 1S')0| saw it, he could not stop
sighing 111 admiration and compiised the tollowing poem to
harmonize |with Bada's|:A single wise and a single tangerine,
/Xueges soul lies w-ithm them; /' Meeting l)u Fu m a river
village, / In vain he chanted, "Alas, the prince!" I later lost the
scroll w hile moMiig, so I regret th.it C^ld Wen|L]iiig| and I cannot
en|oy it together. Tw elfth lunai -month of the biin^wii year
I kinuarv 14-February 12, r-'O?!, inscribed byWu Junciing |Wu
CHiangshuol beneath the flowers of an ancient plum tree."'

ONE SEAL Hi/ [(/// ;///' )'/'/; (square intaglio)

64

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LEAVES 13-15

Colophon ill niiiiiiiio-^tiiiiilortl st'i'ipt, bv Naito Torajiro
(I.S66-1'J34)

Ink on paper; two sheets, each with told, 23.3 x 37.2 cm

In his "Biography ot Bada Shanren." Shao C^inij;nien |Shao
C'hengheng. I()37— I7()4| describes especially well how Batia
teigned madness and "had contempt tor the world," saying "the
swelling and closing down ot his emotions came about tor their
own inexplicable reasons, as when a giant boulder blocks a
spring or wet rags lesist tlie tire, there was notlimg he could do
about it." and "it Shanren had iMiK' met such companions as
Fang Feng 1 1240- 1321|. Xie Ao 1 124'^- 12')3|, and Wu Siqi
[1238— 13(J1J, they would have clasped each either around the
shoulders and wailed in anguish until their voices were gone."
Since Bada s experiences in lite and his own personality were
both truly like this, isn't that \\ hy one caniuu tigure out the
strange and unusual |aspects| ot his p.untmg and calligraphy.
Now in looking at this album. I am particularK' amazed at the
"secret and rough" ciuality ot the paintings, which are c]uite
unlike his usual eccentricities. The style of his calligraphy is also
ancient and mellow, desolate and untrammeled, like that of
masters from the |in dynasty |2()3-42() c.E.].This is certainly
because what one sees in this .ilbuin is a true expression ot his
innermost teelmgs, while the strange and unusual wiirks that one

usualh' encounters are simph works he macie to show his
"contempt tor the world." Oh. it one uses this to explain [the
works of] Bada Shanren. then indeed there is nothing about Bada
Shanren that cannot be explained. Utsucio Hayashi-kun ac^iuired
this album and continues to esteem it most highly, and since he
would ha\e me inscribe something at the end. 1 lia\'e written this
[colophon|. Eighth lunar-month m the hoi^o year 0)\ the Showa
reign period jSeptember 22-October 21. |y3()|. NaitoTora'"

ONE SEAL Hoiiia-aii (sc]uare intaglio)

TWO COLLECTOR SEALS

Hayashi Heizo (2()th century),
one seal: Vtsinio liolii (rectangle
relief)

Zhang Dac^ian, cine seal: Hi
Dtifciiottvio (square reliet ) <

65

fsiTt!l:,ftBl m
9 Lotus and Ducks ca,i696

Hanging scroll; ink on paper
184.1 X 95.5 cm

Bequest trc:)ni the collection of Wang Fangyu and Sum Wai,
donated in their memory by Mr. Shao F. Wang

OUTSIDE LABEL (NOT SHOWN) by Zhaiig Daqiau (1899—1983),
running script

"Lotus and Ducks " done by Bacia Shanren late m life and
venerated by Datengtang [Zhang Daqian].A genuine work
of the divine category, with inscription by Wu Changshuo
[1844-1927]

SIGNATURE ON PAINTING Bada Shanreu

THREE SEALS Ziiifit ilhiiifaiig (squarc intaglio), Bada SImiiivn

(rectangle intaglio), Yaozliu (rectangle relief)

INSCRIPTION Poem in niiiiiiiio script, byWu Changshuo

Birds talk, quack aiici chatter, the rock s face gaunt.
Virtue anci merit emerge from the lotus man's pond.
Hidden are the gulls and herons, sunken are the fish,
Who \\ <is that Snowy Donkey, who once painted this?
Donkey was the name of a Buddhist monk,
A monk who appeared in the House ot Zhu,
He sat cross-legged among the lotus leaves.
As bircis called out, fleeing the shot of a bow.
Painting Zen, m his ideas, he was all a tonsured monk.
Preaching Dharma, he was a leftover prince ot the Mmg,
It his tlower bore no truit, it w as but a matter of karma.
But a matter of karma.
Today we heave a sigh:

Wolves are besting tigers, bear gives birth to fox.
Long in dream, a butterfly comes fluttering along."

POSTSCRIPT Spring of the biii<^yin year [1926]. inscribed
by Wu Changshuo m his eighty-third year.
SEAL Liiofoii (square relief )

EIGHT COLLECTOR SEALS

Yan Shengbo (2()th century),
two seals: ]'(Vislii Bnoiiiciii^taiig
zliciislmiio (square relief),
Sliciigl'o (square relief)

Umdentitied collector, one seal:
Shizhoiig jiislii (square relief)

Zhang Daqian (1899-1983),
four seals: Dafciigtiiiig fiaiijiiiiio
Kunavi Xiicgc Kiigua iiioyiiiiii

(rectangle rehet ), Nanhci
(iongxi yon xianomi wii lucli
(square relief ), Dafcngtiiiio
zhencaiig yin (rectangle relief),
Qiittn hao otiron (jiiig
(horizontal rectangle relief )

Wmg Fangyu (1913-1997)
and SumWai (1918-1996),
one seal: Fang Hiii oonoslmiig
(square relief )

Poem by Han Yu

in running-standard script, 1697

Album leaf; ink on paper
33.0 X 26.8 cm

Purchase — Funds prox'uied by the E. Rhodes and Leona B.
Carpenter Foundation in lionor ot tlie 75th Anniversary of
the Freer Gallery ot Art

From the "Prefice to Seeing Off Li Yuan on His Return to
Winding Valley," by HanYu (768-S24)-'"

When Li Yuan ot Shannan'" was about to return to Winding
Valley, Wengong [Han Yu] heard his words and was strongly
moved, so he sent [Li] some wine and macie a song tor him,
which says:

Withm the Winding lies your palace.
Above the Winding is where you till;

In the springs ot Winding, one can wash and one can swim.

On the slopes ot Winding, who is there to contest your place?

Hidden and deep, broad in its compass.

Twisting anci turning, running off and coming back.

Ah, the joys of Winding, joys that never end!

Tigers and kx)pards keep away, dragons and krakens

skulk and hicle;
Ghosts and spirits keep and guard, and fend off any

untoward harm.
So drink and eat, long life and good health.
Be lacking in nothing, in whatever you want;
I shall grease my cart, and fodder my hc:>rse.
And follow you to Winding, to spend my life m rambling.*'

POSTSCRIPT Li Yuan was the son of [Li] Liangqi, who was
praised as "a match for ten-thousand foes" and whose given
name was Sheng. He was a prince, hence the line,"Within the
Winding lies your /id/iicc [translator s italics] ."Twenty-fifth day
of the tenth lunar-month m the qiaugxijigji year [December 8,
1697 1 , written by Bada Shanren at his Mountain Lodge amid the
Lotus'"

TWO SEALS Slipper seal without border, Kc dc sliciixiaii
(square mtaglio)

THIi.EE COLLECTOR SEALS

Zhang Shanzi (1882-1940),
one seal; Hiu lii xiiiiliiiiio
(scjuare mtaglio)

Zhang Daqian (1899-1983),
one seal: Dafengtaiig (square
relief)

SumWai (1918-1996), one
seal; Slicii Hiii (square relief )

11 Poem by Zeng Gong

in running-standard script, 1697

Double album leaf; ink on paper
26,0 X 51.() cm

Purchase — Funds prox'ided b\' the E. Rliodcs and Leona B.
Carpenter Finindatit>n m honor ot the 73th Anniversary ot
the Freer Gallery of Art

TEXT "The Landscape Screen," by Zeng Cn)ng (lOiy-lO(S3);
not translated^"

posTSCRii'T This poem is the "Landscape Screen "b\' Zeng
[Gong]. CAintemplatnig the place |\\hei'e he says|."ho\v tar
one can go" |line 2''| . . . he must ha\e ccMisidered this [screen]
to be the tiu'thest ime can go in painting. "Little spring" [tenth
lunar-month| in the tliiioclioii \sav |No\'ember 14 — December 12,
I (i97|. Written by Bada Shanren''

THREE SEALS Miozliii (rectauglc relief ), Slipper seal without
border, Kc dc sliciixidii (scjuare intaglio)

SIX COLLECTOR SEALS

Unidentified collectors, two
seals: Yuiijit (rectangle relief).
Boxing ilidiioiiiaii (square
intaglio)

Zhang Shanzi (hS,S2- i'MO),
two seals: Hinlii xiiislidiig
(sc]uare intaglio), Hiidii
xiihliivio (sejuare nitaglio)

Zhang Daqian ( hS'J')- l')S3),

one seal: Ddijidii lidonuiig

o (rectangle rehet )
o

< SumWai (I'^IS- 1996), one

o seal: Slicii Hiii (square relief )

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Album after Dong Qichang's "Copies of Ancient Landscape Paintings"

ca.1697

Album ot SIX leaves; ink ou paper
AVERAGE 31.2 X 24.7 cm

Bequest from the collection of W.mg Fangyu and Sum Wai.
donated m their memory by Mr. Shao F. Wang

Zhang Daqian (1H99- 19S3),
one seal: ZhaiigYiian (scjuare
mtaglio)

Sum Wai (191H- 1996), one
seal: Shcii Hiii (scjuare relief )

LEAF 2

INSCRIPTION Lodge of tllC

Iiiiniortdls tiiiioiio tlic Hills oinl
Stivdiiis, drawn by Xuanzai
[Dong Qichang (1555-1636)]
ONE SEAL Slipper seal without
border

THREE COLLECTOR SEALS

Wang Zitao, one seal: Cciiojiiig
Xiii'aii Wang Zitao elm (rectan-
gle reliet )

Zhang Daqian, one seal:
Daqiaii jnslii (square reliet )

Sum Wai, one seal: Slicii Hiii
(square reliet )

LEAF 3

INSCRIPTION Rii'cr \ ll!aoc\
painted by Xuanzai [Dong
QichangJ

ONE SEAL Slipper seal
without border

TWO COLLECTOR SEALS

Zliang Daqian, one seal:
Diilciioiciih^ jiiiiijiaiio Kiiiiiciii
Xiic(;c Kitoiui iiioyiiaii
(rectangle reliet )

SuniWai.one seal: Slicii Hiii
(square reliet )

^^^^

tfj 2-

LEAF 4

INSC RIPTION On the road to
Loujiang |in |ianLi;sLi Provmcej,
I unrolled the pamtnig The
Fiiyiiiio Moiiiihiiii Rdiioc by
Huang Zijiu [Huang
Gongwang, 1269— 1364|, and
took out my brush to draw
tills. Xuanzai |l)ong Qichang]''
ONE SEAL Slipper seal without
border

FIVE COLLECTOR SEALS

Wiing Zitao, one seal: Ccin^jiiio
Xiii'dii Ziltio ilni (rectan-

gle relief )

Zhang Haqian, three seals:
Bicslii roiioyi (square relief ),
ZluMi^iYiiitii (si.|uare relief),
Diiqiiin (square relief )

Sum Wai, one seal: Slicii Hiii
(square relief)

LEAF 5

INSCRIPTION //; the Slhidc
oj Siiiiiiiicr Trees, painted by
Xuanzai [Dong Qichang]""
ONE SEAL Slipper seal
without border

TWO COLLECTOR SEALS

Zhang Daqian, one seal:

^ Cong zlii daqiaii (rectangle

o relief)
o

< Sum Wai, one seal: Slieii Hiii
<

ci (square reliet )

78

LEAF 6

iNscRiPTK)N The paintings of Ni Yii |Ni Zan, 13(16— I374| are
plain and natural, and have none ot the helter-skelter vulgaritx'
ot common painters. For this album leaf, I copied a genuine
work I by Ni] in the collection of Mister Wang. Xuanzai [Dong
Qichang] '

ONE SEAL Slipper seal without border (upside down)

FIVE t:C)LLLC:T(.)K SEALS

Zhang Daqian, three seals:
7Jia\]{i\'\itiii (square intaglio),
Daqidii (scjuare relief),
Dafcinitain; (square relief)

Wmg Fang>ai (1913- 1997), one
seal: I-iUI(;yii (rectangle relief )

Sum Will, one seal: .S7;c;; Hiii
(square relief)

Colophon in ntnniui^ script, by Zhang Dacjian

In his style of painting, Shanren looked back to Ni Zan and
Huang Gongwang [by stuciyingj Dong Siweng [Dong Qichang].
Over the last three hundred years, no collector or painter ever
viewed [Bada's work] from this angle. I, this old tellow, was the
first to figure out his artistic lineage and now that I have
acquired this album, it further verities that my connoisseurship
was not mistaken. Elderly pupil trom Shujun [Sichuan
Province], Zhang Daqian Yuan^'*

TWO SEALS Zijdii^iYnaii (square intaglio), Daqian (square reliet )

13 Excerpt from "Preface to the Gathering at the River

m running-standard script, ca, 1697

Album leaf; ink on paper
26.2 X 19.0 cm

Purchase — Funds prox ided by the E. Rhodes and Leona B.
Carpenter Foimdation ni honor of the 75th Anniversary ot
the Freer Gallery ot Art

Excerpt trom "Preface to the Gathering at the River" by Wang
Xizhi (ca. 3()3-ca. 361 c.E.)'"

Duruig late sprmg m the ninth \ ear ot the Yonghe reign period
[353 C.E.], we assembled at the C~)rchid Pa\'ilKin m Shanym
prefecture, Kuaiji county, to obser\ e the puritication rites.
Sundry worthies all arri\-ed and both young and old gathered
together, tc^r in this spot there are lotty ranges and exalted
mountains, thick groves and tall bamboo, and a clear current
gushing and swirling, shining about us left and right, that has
been led to form a winding stream for floating wine cups. Anci
we seated ourselves m order each to his place. On this day, the
sky was bright and the weather clear, and how pleasant the gen-
tle breeze! We delighted our eyes and ga\e rem to our passions,
so truly enjovable it was. Though wc hadn't the opulence ot
silken strings and bamboo flutes, tor everv cup there was a song,
and that was c^juite sufficient for the pleasing expression of our
private feelings. Therefore, I have listed in order the persons then
in attendance and recc^rded their compositions.

"Preface to the Gathering at the River." Bada Shanren'"
TWO SEALS Slipper seal withc)ut border, Kc dc shcnxiiin
(sc]uare intaglio)

TWO COLLECTOR SEALS

Zhang Daqian (1899- I '.)S3),

one seal: Jiyiian (scjuare

o mtaglio)
o

< Sum Wai (1918-1996), one

ij seal: Slicii Hiii (sc]uare relief)

80

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£3

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14 Poem by Zhang Jiuling

in running-standard script, ca. 1697

Allium leat; ink on paper
2h.\ X 19.2 cm

Purchase — Funtis proviciecl by the E. Rhodes anci Leona B.
Carpenter Foundation in honor ot the 75th Anniversary ot
the Freer Gallery of Art

"hiscribed on a Landscape Fokimg Screen," by Zhang Jiuling

(678-740)"

Though the burdens ot niy heart will never end,
I am still attracted to transcendental things;
So when I haw the chance to please my senses,
I take acivantage of the beauty m a painting.
I have always embraced the idea of wilderness.
But am pressured by my tate within the world;
While mundane aftairs, indeed, are ever thus,
I shall hold fast to that idea and never budge.

This artist has captured my innermost desires.
Wielding his marvelous brush before the clitT;
Every change conforms to what is really there.
Every height and depth is identical to nature.
When it is ciisplayed within the northern hall.
One seems to stand beside the southern hills;
Though one stay put and never leave his door,
hi spirit he has traveled to someplace tar away.

The day lily can be planted against sorrow.
And coupled bliss will assuage cines anger;
If little things can have such great effects.
How much more then, this secluded fish trap!
Words and images melt away of themselves,
I have simply used them to e.xpress my idea;
Eve gotten such enjoyment from this object.
That it will linger on forever m my mmd.^"

POSTSCRii'T Du |Fu|.ot the pulilic works department, "piled
dirt to make a mountain." In this [poem], then, "all the other
mountains resound." Bada Shanren"'
ONE SEAL Kc lie iliciixidii (scjuare mtaglio)

TWO COLLECTOR SEALS

Zhang Daqian (1.S9')- 19S3),
one seal: Daqian zlii hao
(sc]uare relief)

Sum Wii (1918-1996), one
seal: Slicii Hiii (square relict )

<
83

15 Poem by Sun Ti

in running-standard script, ca, 1697

Album leaf; ink on paper
2h.2 X cm

Purcliase — Funds prox'ided b\' the E. Rhodes and Leona B.
Carpenter Fmuidation m honor of the 75th Anniversary ot
the Freer Gallery ot Art

"Respecttully harmonizing with the Poem on llic Liindsdipc
Miiitil ill the Scnviiiriiit bv Minister of the Right Li."by Sun
Ti (ca. byy-ca. 751)

On your many free ciays tixim the halls ot court.
Landscape ttnmd a match in \our true teelings;
Wishing to express all those heights and depths.
You turned to elegant painting to acci>mplish it.
Nine Rivers approach the doors and windows,
Three Gorges entwine the eaves and pillars,
Fkiwers and willows bloom throughout the vear.
While mist and clouds appear upon your whim.
Ten-thousand miles seem just next door.
One dties iuit teel the tour seasons passing;
The air is redolent with Xun Yus fragrance.
And the light is clear as Yue Guangs mirror.
Poetry describes going torth and staying put.
Paintings express both the empty and the full;
Preserving the experiences ot a thciusaiui years.
How can \x)u speak ot but eight \ eais ot glory!"

SIGNATURE Bada Shanren

ONE SEAL Kc dc slici ixiiii I (stjuare intaglio)

TWO COLLECTOl*. SEALS

Zhang Daqian (1899-1983),
oj one seal: Caiig zlii Daqiaii
o (square intaglio)

< Sum Wai (1918-1996), one
o seal: Slicii Hiii (square relief)

84

in running-standard script, ca. 1697

Album leaf; ink on p.ipcr
2h.\ X 19.2 cm

I'urch.ise — Funds pnivided by tbe E. Rhodes .ind Leona B.
Carpenter Foundation \n honor ot the 75th Anniversary ot
the Freer Clallery ot Art

"Song Plavtully hiscribed on a Landscape Painting by
Wang Zai;"by l^u Fu (712-770)^"

Ten days to paint a river.

Five days to paint a rock.
An expert does not suffer feeling pressed or hurried,
Wang Zai must approve betore he leaves a mark behind.
How mightw this landscape trom the Kunlun to Fanghu,
That hangs upon the w hitened w.ill of your lotty hall.
From Baling along Dongting Lake to east of tar Japan,
The river passes Reel Bluft to |oin the SiK'er Stream:
In the middle, dragons tl\' among the clouds and mist.
Fishermen and boatmen pull in to riverbank and shore.
Mountain trees are flattened bv huge billows of wind.
No line ti'om the past equals him in painting distance,
just a tciot must correspond to, say, ten-thousand //,
If I could get a pair of sharpened Bmgzhou scissors,
I'd slice off a half of Wusong Creek to take along."

SIGNATURE Bacli Shaiireii

ONE SEAL Kv </c slicfLxiiiii (square intaglio)

TWO COLLECTOR SEALS

3
O
O

Zhang Daqian (1<S99-F),S3),
one seal; Daqioii jiislii (scjuare
relief)

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<

SumWai (1 91 8- 1996), one
seal: Slicn Hiti (sc|uare relief )

86

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17 Rubbing of the "Holy Mother Manuscript"with Transcription

an d c olophon in running-standard script, 1698

HandscroU, ink on paper
nuisinNG 29.4 X 230. (S cm

TRANSCRIPTK1N AND COLOPHdNS 29.4 X 96.(1 cm

Bequest troni the collection of Wang Fang\u and Stun Wai. donated m their nieiiuir\ b\' Mr. Sliao F.Wang
DUiMDE LABFL (Noi sHciWN) U 11 idcn titled ciUigrapli cr. Ill 11 11 1 iig-staudard script

Song ciynasty rubl^ing ot the "Holy Mother Maiuiscript" by Hiiaisu (725 — ca. 799), with transcription and colophon by Bada
Shanreii of the Ming dynasty""

INSIDE LABEL by Xiaobao (iinidentitied), clerical script

Song-dynasty rubbing ot the "Holv Mother Manuscript" by Huaisu. w ith personal transcriptum by Bada Shaiiren iif the Ming
dynasty; a genuine work of the divme class. Label sHp inscribed by Xiaobao
ONE SEAL (rectangle relief)

'l't,]ii<cyipthvi of the "Holy Mother Miiiiiifcripi ," bv Bacia Shanren"''

The HoK' Mother m her heart approxed the ultimate instructions
ot the sages. . . . Thus when she recei\ eci tlie DatMst teachings ot
Highest Purity, slie tortliwith ascended to a place among the
ranks of the hol\', her supernatural intluence extended afar to all
those whc:) exalted tiie immortals, .ind her di\ ine responsiwness
mo\ ed switth' to .ill those \\ ho excelled m extr.iordm.irx' merit.
Whereupon, the perfected one. Lord Liu, bearing a scepter and
riding a ijihit |unicorn], descended into her courtyard. Lord Liu
is named Gang, and is one of the noble perfected. And since her
Wa\' jiiiioj corresponded to what is written in the precious records
and her talents accorded with those ot the highest immortals, he
prox ided her w ith m.igicil tonnulis and ted her on perfected
elixirs, so that her divine appearance was instantK' transtormed,
her iilesh and bones grew slender and lox'elw anct setting herselt
apart tix~)m the comnuin masses, she distanced herselt trom carnal
affections. At first, her husband Mister Du was greatly enraged aiul
reprimanded her tor neglecting her wit'ely duties, but the Holy
Mother went on as she was and paid him no heed, until in time
he brought suit against her, which led to her continement. While
detained in prison,. ill ot a sudden she was arrayed in rainbows,
and an immortars carriage desceneied from the air, inquiring for
her .IS It approached the door. Looking back, she called to her two
daughters and together the\- ascended, climbing into the void.
When the r.n s of sunrise began to glow, the\- shot str.ught upw ard
into the sky, banners and streamers bright and gleaming, shining
and radiant beyond compare, and with strange music and exotic
fragrances, they disappeared into the sky and were gone. Emperor
Kang [reigned 342-44 c.E.| of the Jiii considered this a sign of
ciyiiastic renewal and had the stor\' inscribed on a tablet where
she had lived, establishing a temple there tii celebnite these .luspi-
cious events. And he named her the Holv Mother of I )ongliiig:
tor her home had been in (luauiilinu; and she bec.ime an ininior-

tal 111 a place east of this, thus he called her "I )ongling" |literally:
east ot (lu.niglingl; and w hereas she ascended together with her
two daughters, thus he called her "Holy Mother." And when the
vast hall had been raised aloft aiici her true likeness beautifully
decorated, e\er\one from near and tar came thronging to her
temple, enipt\ang the very market places of |ianghuai. During
times ot drought or pestilence, there were none who dici not pray
to her and petition for relief for the [Holy Mother] bestowed
radiant answers by which the people were restored to great good
health. And it there was an e\'il robber who had not been brought
to account, then she would send a wondrous bird to hover over
the place he lived and drop a supernatural writ, whereby his griilt
was proven. Thus, no one in the towns anci villages dared to com-
mit such e\ il acts.

Frtnii the |in d\'nast\ until the Sui, for sc)me three hundred
vears, both town aiici country made tine offerings to her, flock-
ing to her temple by cart and foot. When Emperor Yang ot the
Sui ciynasty [reigned 604-()17| nroveci east tojiangciu [modern
Yangzhou[, the dynastic c\ cle was ending and there was great
superstition, Daoist adherents were strictK' torbiciden and the
Mysterious Prime [missing characters]. Now the Nine Sage
Emperors [of the Tang ciynasty] have magnificently carried on
her tradituin, devoutly prtHlaimmg the ultimate Dao and estab-
lishing stiirehouses in the temples ot truth. Thus, how much
more can her numinous traces be detected and her transforma-
tive influence be found among men, for although rank growth
may co\-er the barren suburbs, the lib.itions and prayers ot the
people still gather like cK)uds. Old men grieve that the rafters
and eaw's are ncit yet fixed, so whoever shall restore this temple,
him shall they call great m \'irtue.Thus, the Way ot my uncle
Guo, Duke of Taiyuan, Military and Surx'eillance ("ommissioner
of Huainan, Minister of Rites, and C'omniissioner Super\ ising

88

the Army, crowns the four corners ot the worki and his merit is
revered throughout the southern lands. Until the rivers Huai
andYi run dry, [the renown of] his great deed shall never perisli
and will be preserved forexer in hymns ot praise. In the ninth
year of the Zhenyuan reign period, the <,'///)'t'i/ year ot the cycle,
during the // month [July 13-August 10, 7')3|. Written by the
Buddhist monk Cangzhen "

NO SIGNATURE

ONE SEAL Slipper seal without border

Coloi>lioii ill iiiiiiiiiio-sitiiiiLiiil siiipt. h\ Bada Slianren.

The Aiitohioi^nipliy, riioinaiul (lliaiaitci Eaay, and iither wiirks
written by Liitian'an |Huaisu, ca. 725 — ca. 799] while drunk
were solely rooted in the abstract cursive script of Zhang
Youdao [Zliang Zhi, active ca. 150-192 c:.E.]. Only the Holy
Mother Mciiiiisi iipt w as \\ ritten while he was sober and captures
the stanclardized forms ot Zhang Youdao's style made by Suo
You'an [Suo jing, 239-303 c . E.J. While one may imagine he is
looking at calligraphy by two Han masters, they were both born
and raised m the territor\' iit |iuc]uan |Gansu Province|. w hich
became a dependent state only atter they lett.The writing of
Ltitian'an, liow can one not treasure it! "Little spring" |tenth
lunar-month I m the wiiyiii \ ear |Nii\'ember 3 to necember 1,
Ki9,S|, inscribed bv Bada Shanren at his Mountain Lodge amid
the Lotus"

Colophon ill iiiiiiiiiii^ ^ciipi, by Yang C'hunhua (unidentitied)'"

in the past 1 haw seen main' rubbings ot the "Holv Mother
Manuscript," but none c]uite so beautiful and outstanding as this
one. Obtaining Bada Shanrens transcription of the te.xt is like
seeing the true appearance of Mount Lu. C^ne should not view
It lightly, hiscnbed by Yang Chunhua

ONE SEAL Ydii}^ Chiiiiliiui yiii (square intaglio)

TWO SEALS (]iii\ii (rectangle relief), Kc dc slicii.\i,iii
(square intaglio)

twenty-eive collector
seals'"'

Bada Shanren (1626-1705),
three seals on rubbing: Gui'ai
(rectangle relief). Slipper seal
without border, Kc ilc slicii.\i,iii
(square intaglio)

ZhuYizun (1629-1709) or
descendant, one seal on rub-
bing: Xiuilllli Zllislli (JidllCclitdllO

nisliii (square relief)

Shell Tong (I6S<S- 1752), one
seal on rubbing: (jikHiiiio
shciiihiio (gourd-shape relief)

Li Puquan (19th-20th
century?), three seals: I'liqihiii
zliciiiiii (rectangle intaglio; on
rubbing), Baiiiicii Liilii zlicii-
cdin^ (square relict: on rub-
bing). Pihjiidii :liriiiiii (rectan-
gle intaglio: on transcription)

Lm Xiongguang (1S9.S- l')71)
tivc seals: Liihhi Boosoiioslii
stiouiii[; (square reliet; on tront
mounting). Biiosoiioslii (square
reliet; on rubbing), Lciii\^\iii
jiaiiuiiio (s(.]uare intaglio; on
rubbing), Liiiii^'iiii siunh' (rec-

tangle relief; after colophons),
Lin A7o/;(3(3Ki7/;a )'//; (square
intaglio; on back mounting)

Unidentitied collectors, three
seals: Mitioji.xitino'dii (rectangle
reliet; on tn^nt mounting),
Minhihixidiioiiiin !.hciiihiio
(square relict; on rubbing),
Boozlii otioyiiii (square intaglio;
on back mounting)

('heng Qi (20th centurv), four
seals: Chciii; Bofcii zhciiaiiii^ yiii
(rectangle reliet; on rubbing),
Shiiiiiiosoiidloii (rectangle reliet;

on rubbing), Kc'iiii : hen mi
(rectangle relict; on tr.mscnp-
tion), (Uliciii; Bofcii rnsliii ji (rec-
tangle intaglio; alter colophons)

Wing Fangyu (1913-1997),
one seal: Fani^yu (rectangle
reliet; atter colophons)

Sum Wai (1918-1996), four
seals: Shcii Hiii (sc|uare relief;
on rubbing), .S7;c// Hiii (square
reliet; on rubbing), Shcii Hni
(square relief; on transcrip-
tion), .S7;(7/ Hiii (square relict;
atter colophons)

I

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91

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SECTION 3

92

SECTION 5

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18 Poem by Sun Ti

in running-standard script, ca, 1698

Hanging scroll; ink on paper
204.8 X 72.2 cm

Beqnest from the collection of VKing Fangyu and Sum Wai,
donated in then" memorv b\' Mr. Shao F. Wang

"Respecttullv harmonizing with the i'ociii on ilic Lciiidsc\ipc
Miihil ill ihc Sfiivraiitir by Minister ot the Right Li by Sun Ti
(ca. 699- ca. 76 1)'^'

On your many tree da\'s trom the halls of" court.
Landscape found a match in your true teelings;
Wishing to express all those heights anci depths,
You turned to elegant painting to accomplish it.
Nine Rivers approach the doors and windows.
Three Gorges entwine the eaves and pillars,
Flowers and willows bloom throughout the year.
While niist and clouds appear upon your whim.
Ten-thousand miles seem |ust next door.
One does not teel the tour seasons passing;
The air is redolent with Xun Yu"s fragrance.
And the light is clear as Yue Guang s mirror.
Poetry describes going tc^rth and sta\"ing put.
Paintings express both the empty and the tuU;
Preserving the experiences of a thousand springs.
How can you speak ot but eight years ot glory!

SIGNATURE Bada Shanren

THREE SEALS Yaozliii (rectaiiglc reliet ), Kc dc <liciixiiiii
(sc^uare intaglio), Biulii SIhiiiicii (sL]uare mtaglio)

ONE COLLECTOR SEAL

Wang Fangyu (1913-1997)
and Sum Wu (1918-1996),
one seal: Fain; Hui '^oiiodii
(rectangle relief)

j
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1

47

i

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Ay
f

19

■t

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5 7)<

95

19 Crouching Cat 1699

Hanging scnill; ink on paper
164.(1 X 90.6 cm

Bequest from the collection of Wang Fangyu and Sum Wai,
donated m their memory by Mr. Shao F. Wang

INSC RIPTION Painted on tlie
iliuiiiyaiii^ day m the jiniao year
I June 2, 16')^)|. Bada Shanren"'

THREE SEALS BiUliI SllillllCII

(square intaglio), Hcyiiau
(square reliet), Yaozlui (square
intaglio)

ELEVEN COLLECTOR SEALS

Wu Hufan (1S94- 1968)'" and
Pan jingshu, five seals: Hiifaii
jiinislni zlicncaiii; liiidzluin
(rectangle intaglio), Hufan
:liiitcaiio yin (rectangle relief ),
II;/ Hiifaii Pan Jiin^shii :licik'dn<^
yin (square reliet ), Clioiiyi
ihnhna (square reliet ), Mcijinii
shnirn niiji (rectangle relief)

Zhang Daqian (1899-1983).
tive seals: Nanhci domixi yon
xiani^ini wn hirii (square reliet ),
Dafcni^laui^ jianjiani^ Knncaii
Xncgc Kuona nioynan (rectangle
relief), Dajcnonino zlicncani; yin
(rectangle reliet ). Z!i.nn^\'naii
siyin (square intaglio), Qianqin
ynaii (square reliet )

Wang Fangyu (l'M3-1997)
and Shen Hui (1918-1996),
one seal: Fain; Hni i^oni^shaiio
(square relief)

20 Copy of the "HaH-Stele of Xingfu Temple"

in running-standard script, 1699

Album ot twenty leaves; ink on paper
AVERAGE 25.25 X 8.63 cm

Bequest from the collection of Wang Fangyu and Sum Wai,
donated in their memory by Mr. Shao F. Wang

OUTSIDE LABEL (NOT SHOWN) by Zhang Dac]ian (1899-1983), running script

The Half-Stele ofXinqfii Temple by Bada Shanren, a genuine work venerated in the collection of Datengtang [Zhang Dac]ian]
Remounted m the intercalary fifth lunar-month of the leiiclieii year | June 22-July 21, 1952]. Inscribed by Daqian jushi
TWO SEALS ZhduoYiiau (square relief), Daqiaii jtislii (square mtaglio)

LEAVES 19-20

Postsiiipt, by Bada Shanren

LEAF 20

Colophon in itiuuhinl .^n ipt, by Tang Yunsong {jinslii 1840)

This IS the record on stone ot "the stele that stood at the Xingtu
Temple . . . with running script culled by the resident monk
Daya from calligraphy |written| by Cleneral of the Army of the
Right, Wang Xizhi |ca. 3U3 — ca. 361 c'.E.|, of the Jm dynasty, and
carved thereon." J/'/;i(!0 year [1699], copied llinj by Bada
Shanren''

TWO SEALS \iio:lni (leaf 1: rectangle relief). Slipper seal without
border (leaf 2( ))

Bada Shanren was the grandson of Prince Yi of the Ming
dynasty [1368- 1644|. After the change m dynasty [1644], he
settled as a refugee along the Xuiiang [river in eastern liangxi
Province] and became famous tt^ir his painting. He was also
thoroughly fluent in the calligraphy of the Two Wangs, and was
particularly successful m this work copying the Half-Stele of
Xiii'^fii Temple, which can be treasured and enjoyed for its tran-
scendent qualities of naturalness and freedom. Mid-autumn
month of the diin^ii'ei year [September 9 — October 8, 1847],
inscribed bv Tamj Yunsontr'''*

TWO SEALS TanoVtiiisoii'^ yiii (scjuare mtaglio), Heshii
(scjuare relief)

FIVE COLLECTOR SEALS

Zhang Daqian (1899-1983),
three seals: Can\^ ;///' Daqian
(square mtaglio), Dafengtanj^
Jianjiang Knncaii A'HCtjc Kiiqiia
inoynan (rectangle relief),
Dafengtani^ (square relief)

Wang Fangyu (I') 13- 1^)47),

one seal: Fan_\iYn (liiiked-

o square relief )
o

< Sum Wai ( 1 9 1 8 - 1 996) , one

5 seal; Shen Hni (square relief)

98

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LEAF 8

f j.

Jr

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Hi

LEAF 10

^ i

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ft

t

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tit

n

LEAF 7

LEAF 9

101

7? iD

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LEAF 16

LEAF 15

8.

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7^

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LEAF 18

LEAF 17

103

105

21 Landscape ca.i699

Hanging scroll; ink and color on paper
149.1 X 64.1 cm

Bec]uest from the collection of Wang Fangyu and Sum Wai,
donated m their memory by Mr. Shao F. Wang

SIGNATURE Painted by
Bada Shanren

THREE SEALS Kc dc sllCllxiilll

(square intaglio), Bada Sliaiiivii
(square intagUo), Yaozliii
(square intaglio)

THREE COLLECTOR SEALS

Unidentified collector, two
seals: Alijiiizliai yiii:liain^
(rectangle rehef), x-loii yaiifii
(square intaglio)

Wang Fangyu (1913-1997)
and Shen Hui (1918-1996),
one seal; Fang Hiii ooi{<^sliaii(^
(square relief)

22 Poem by Geng Wei

in cursive script, ca, 1699

Hanging scroll; ink on paper
154. S X 75.3 cm

Bequest from the collection of Witng Fangyu and Sum Wai,
donated m their memory by Mr. Shao F. Wang

"Inscribed at Clear Springs Temple," by Geng Wei
(active mid- to late 8th century)""

Blending Ruism, Moism, and the Holy Religion,
By the cloudy spring, he built his former hut;
But Meng Wall Cove is desolate now and still.
And Wheel Rim Creek just winds naturally away.
The inner teachings dissolved his many cares.
The western garden transformed his old abocie;
hi the deep chamber, spring bamboo grciws old.
In the thin rain, the night bell seldom tolls.
His dusty tracks remain m the golden earth.
His writings are kept beside the Stone Canal;
Still I do not know which ot his companions.
Has inherited the books of this CaiYong.'"

SIGNATURE Bada Shanren

THREE SEALS Yaozliu (rectangle relief), Kc dc slieiixiaii
(square intaglio), Bada Shaiiren (square intaglio)

FIVE C;OLLECTOR SEALS

Zhang Daqian (1899- 19<S3),
four seals: Bicslii iviiiiyi (sc^uare
intaglio), Qiiitit Inio {^invii qiiig
(rectangle intaglio), Dafeiigtang
Jiaiijiaiiq Ktiiican Xiiegc Kiigua
iiioyiiiVi (rectangle relief), Biifii
gtiren gao lioiiirii (horizontal
rectangle relief)

Wang Fangyu (1913-1997)
and SumWai (1918-1996),
one seal; Fang Hiii goiigsliaiig
(square relief)

108

Peonies ca, 1699-1700

Hanging scroll; ink on paper
87.2 X 44.1 cm

Bequest troni the collection of Wang Fangyu anci Sum Wai,
donateci m their memory by Mr. Shao F. Wang

INSCRIPTION Pocni in niniiiin^-cinsii'c script, by Bada Shanren

I perused the classics, unnumbered glosses from the Han,
Lord Shao could not dci any better than our feast today.
I dispatch this lovely flower withm its pearl of jade.
Tell people just to wait until the later days of spring.^'

POSTSCRIPT On the Birthday of Flowers [twelfth day of
the second lunar-month], upon reading the "Poem on the
Crab apple"" by Mister Kezhai, I wrote this to solicit his
correction. Bada Shanren'"

TWO SEALS Biiihi Sliaiiivii (square intaglio), Hf)'i/(7;(
(square reliei )

SIX COLLECTOR SEALS

Zhang Daqian (1899-1983),
tour seals: Dafciigtaiig Jianjiang
Kiiiiiiiii Xtiege Kiigiia iiioyiiau
(rectangle relief), Qiiitii Inio
guroti qiiig (horizontal-
rectangle intaglio), Bieslii longyi
(sc]uare relief ), Digiio zlii fn
(sc]uare relief )

Zhang Shanzi (18.82-1940),
one seal: Shanzi xinslinng
(rectangle relief)

Wang Fangyu (1913- ]''97),
one seal: Sliijizliiln (sc]uare
mtaglici)

Ill

24 Five Pines Mountain ca.i699

Hanging scroll; ink and color on paper
111. (J X 43.3 cm

Bequest from the collection of Wang Fangyu and Sum Wai,
donated m their memory by Mr. Shao F. Wang

OUTSIDE LABEL (NOT SHOWN) hv Zhaiig Dacjiaii (1899 — 1983),
running script

Fii'c Pines Moiiiiuiiii, by Bada Shanren. Light color on paper, a master-
piece trom his late period. Venerated by Datengtang [Zhang Dac^ian] "
TWO SEALS ZlianoYiian (sc]uare intaglio), Daqiau jiislii (square relief)

SIGNATURE ON PAINTING Painted by Bada Shanren

THREE SEALS Lii (rectauglc relief; upside down). Slipper seal without

border, Zlicnsliaii^i (square relief)

Colophon ni staihiayd ,aipt, by Ye Dehui (1864-1927)'^

Long ago, when Zhang Pushan |Zhaiig Geng, I685-I7(i()j
composed the Hiiiizliciiolii [Records on painters of the Qmg
dynasty] and placed Bada Shanren as the first entry, this anachro-
nism was meant to say that Bada was the best. ' Zhang also
quoted the w\>rds ot provincial graduate QiuYueiu [active
1717-1734], who said, "As an artist, Shanren was most certainly
a master m the simple and abbreviated style of brushwork. Not
knowing that his retined, meticulous works were even mc^ire
marvelous and exceptional, people of the time did not often
collect them." ' This painting is altogether a masterpiece of
Badas retined, meticulous style. The texturing ot the mountain-
sides and the tree branches were both done using "backward
strokes," which was probably because Bada haci seen his whole
world turned upside down before his very eyes, and his grief and
bitterness were therefore ingrained m his calligraphy and paint-
ing.'' But this is not something that cirdinary histories ot paint-
ing discuss. This scroll was avidly admired in the past by my

kind "elder brother," Surveillance Commissioner fieqing, who
gallantly snatched it up tor me when he saw it in the market-
place ot Changsha. Now, all ot a sucicien, more than twenty
years have passed, and who would have imagined that [m the
meantime] our own generation would personally w itness the
[same kind ot [ paintul national calamity that affected Shanren.
The surveillance commissioner retireci to the seashore, closed his
door and studied painting, becoming, as the Dongtian qiiiglu says,
the foremost man of his generation.'*' Thus, I looked through my
luggage and found this painting to present to him, so that Bada
Shanren may be with a triend who truly appreciates him. May
the surveillance commissioner treasure it forever. Beginning of
summer m the diiiosi year [May -June 1917[, inscribed by your
okf family friend, your foolish "yc^unger brother" Ye Dehui,
while lodging m the Qingjiafang [cjuarter] ot Suzhou

ONE SEAL it' Dclini (square relief)

ELEVEN COLLECTOR SEALS

Li Puquan (19di-2()th cen-
tury), two seals: Piiqimii zlicnnii
(rectangle intaglio), Bninivii
Lislii zliciicano (square relief)""

WangWenxm (19th-2(Jth
century), three seals: M(7(;t^'
JVciixiii lang (square relief),
IVcnxin slicnding (square re-
lief ), MciigquiVi slitiu'ii sliiihiia
sliciiding yiii (square intaglio)"

Unidentified collectors
(19th-2()th century), two
seals: Saiiyaiigzluii Ciing jinslii

iJndnia (rectangle relief),
Diiio Bocliiiciii jiiinilhvig :lhniq
(rectangle relief )

Zhang Daqun (1899-1983),
three seals: Ddfciigtcing ]iiMijiang
Kiincai! Xiiegc Kiigita nioyiian
(rectangle relief), Zliniio
Dtiqidii cluingnidii da'ji yoit lili
(square mtaglio), Bicslii longyi
(square relief )

Wang Fangyu (1913-1997),
one seal: Sliijizliilii (square
intaglio)

112

113

Poem by Bai Juyi

in running-cursive script, 1700

Three album leaves; ink on paper
AVERAGE 31.4 X 23.5 cm

Purchase — Fluids provided bv the E. Rhodes and Leona B.
Carpenter Foundation

111 honor ot the 75th Anniversary ot the Freer Gallery of Art

"Three Friends ot the Northern Window," b)' Bai Juyi (772 — 846)''"

Today, below the northern window,
I ask myself what I shall do?
Happily, I have three friends.
And these three tneiids, now, who are they?
When I stop the lute, 1 drink some \\ ine.
When 1 stop the wine, I croon a pt)em;
These three friends lead each cither ever on.
Round and roiuid we go. tor time without end.
Every strum contents my inmost heart.
Every chant brings joy to my four limbs.
And it 1 tear a gap appear between them,
1 just use a little wine to patch it up.

Is a clod like me alone m likmg this?
Many ot the ancients did just the same!
There was Yuanming, who loved wine.
There was Qiqi, who loved the lute.
And there was Bolun. who loved poems.
These three men were all my teachers.
While one lacked even the meanest provision.

These three teachers departed long ago.
Their lofty manners cannot be followed;
But my three friends keep me company.
And not a day goes by we do not consort.
Left, I grasp the beaker of whitest jade.
Right, I stroke the stops of yellow gold.
And nierr\' w ith wine, 1 do not told the paper.
My brush just runs, jotting crazy words.
So who will take these words of mine.
And give my thanks to family and friends:
You may not believe that 1 am right.
But how can you believe that I am wrong!'*'

POSTSCRIPT This poem by Bai Xiangshan |Bai Juyi| is marvelous
in every |respect|, but has iie\'er been p.unted.'^ (h'iiolIicii year,
third lunar-month, twentieth day (May (S, I7()()|, recorded by
Bada Shanren

THREE SEALS )'iio:lni (rcctaiigle relief), Biuiii Sliiiinvii (square
intaglio), Hcyiian (square relict )

And the other was clad in rope-belted robes,
Smgmg to the strings, chanting m their cups.
Each of them knew well the road to happiness.

ELEVEN COLLECTOR SEALS

Zhang Wci (l')th-2()th
century?), two seals: (lihlii
Zliiiiiiislii Jini^liaiixic yiii
(rectangle intaglio), Xidohiii
iiiiii'iiii (se]uai'e reliet )

Unidentified collector, three
seals: Cliiiii (rectangle relief),
Cliiiii (rectangle relief), Chun
(rectangle relief)"'

Zhang Daqian (1899-1983),

five seals: Daqiiiii jiislii (square
relict ), Daqioii xi (square
uitaglio), /)(//(7((,'f(;;/t_' Jianjian^
Kiiiiiiiii Xiici^c Kiioiia nioyiian
(rectangle relict ), ZJianoYudu
(sciu.ue uitaglio), Saiiqiaii
iLujiiiii (square reliet )

Wang Fangvu (1913-1997),
one seal: Sliijizliilii (square
intaglio)

117

118

26 Cedar Tree, Day Lily, and Wagtails 1700

Hanging scroll; ink on paper
172.1 X 92.4 cm

Becjuest from the collection of Wang Fangyu and Sum Wai,
donated ni their memory by Mr. Shao F. Wang

ouTsmE LABEL (NOT SHOWN) by Zhang Daqian (1899—1983),
rimning script

Venerated by Datengtang [Zhang naqian]: Ccdiii live, Diiy Lily, and
W'aotiiih. a geiunne work painted by Bada Shanren dtiring t\\c '^viiodicu
year |17(>n|. m his seventy-fifth year'"'

SIGNATURE ON PAINTING CjCin^ihcii vcar |l7()(l|. Bada Shanren
THREE SEALS Biidii Sluuiirii (square intaglio). HiyHiiii (square
relief), ytio:liii (rectangle relict)

EIGHT COLLECTOR SEALS

Zhang Daqian (1899-1983),
seven seals: Dafciiotiiiio Jiiiniiiiin^
Kiiihciii Xiici^c Kiioii,! iiioyihiii
(rectangle relief), Biifii iiiiivii
Olio lioiiirii (horizontal rectan-
gle relict ), Wiiihci cloiio.xi
you .xidiiofiii It'll hicli (square
relief ), jiclioii yilioii siio </c
(rectangle relief), Qiiini Imo
giiroii qiiig (horizontal rectangle
intaglio), Di^^iio zlii fii (square
relief ), Bicihi loih^yi (square
relief)

Wang Fangyu (1913-1 997)
I and Sum Wai ( 1 9 1 S - 1 996) ,
< one seal: Fain} Hiii (^oinisliiiiio
5 (square relief )

120

121

Two Geese ca,i700

Hanging scroll; ink on paper
83.5 X 90.2 cm

Bee]uest from the collection of Wang Fangyu and Sum Wai,
donated in their memory by Mr. Shao F. W;ing

OUTSIDE LABEL (NOT SHOWN) bv Zhaiig Dacjian (1899—1983),
running script

Gccic and Rccds, a late painting by Bada Shanren. venerated
by Datengtang [Zhang l)aqian|. A genuine \\x)rk of the divme
category; acc]uired in Hong Kong after 1949 "

SIGNATURE ON PAINTING Drawn bv Bada Shanren

THREE SEALS Bddd Sliitmvii (square intaglio), Hcyiidii (square

relief), Yaozliu (square intaglio)

EIGHT COLLECTOR SEALS

Zhang Daqian (1899-1983),
six seals: Jiclioii yilioii siio dc
(rectangle relief ), Qiiini luio
guioii qiiio (horizontal rectangle
intaglio), Nanhci doiio.xi yon
xiaiigstii u'li bicli (square relief ),
Dafcinitausi (square relief),
Bicilii loin^yi (square relief ),
Dajeiigtan>^ jianjiauo Kiiiuwii
Xiici^e Kii(;iiti luoyiiiin (rectangle
relief)

Unidentified ct)llector, one
seal: .v .v Zlidni^ilii slioiictiini
sliiiliiui yin (square intaglio)

Wang Fangyu (1913-1997)
and SumWai (1918-1996),
one seal: Faini Hiii <^on<^iliinn^
(square relief)

Four Tang Poems

in running-cursive script, 1702-1703

Four hanging scrolls; ink on paper
AVERAGE 176.8 X 44. <• cm

Bequest from the collection at Wang Fangvu and Sum Wai,
donated ui then- menuirv bv Mr. Shao F. Wang

SCROLL r"

"Seemg Ott a Buddhist Monk." b\' Lui Changqmg
(ca. 71 0-after 7S7)"'

The lonely cloud and the wilderness goose.
How should they abide in the world ot man?
Do not buy land on Fertile Isles Mountain,
People of the tune already know the place.'"'

SIGNATURE Bada Shanren

THREE SEALS Zliciisliiiiio (square relief), Biulii Sli,iiiirii
(square mtaglio), Hcyiiiiii (square reliet )

SCROLL 2

"Cdinibing Hooded Crane Tower," by Wang Zhihuan
(f,SS-742)'"

Daylight disappears along the hills.
The Yellow River flows into the sea.
If 1 wish to see a thousand // away,
I chmb another stor\' m this tower.

SIGNATURE Bada Shanren

THREE SEALS Zliciisluiiio (square relief), Biuld Sluiinrn
(sc]uare intaglio), Hcyiidii (square relief )

THREE COLLECTOR SEALS

Zhang Daqian ( 1 Si)9- b)S3),
two seals: DiifciiiiliUii^ (square
relief ), Daqiaii luioiiiciio
(rectangle relief)

Wang Fangyu (1913-1997),
one seal; Sliijizliilii (square
intaglio)

TWO COLLECTOR SEALS

Zhang Shanzi (1882-1940),
one seal; Slhiii:i xiiislhiiio
(square relict )

Zhang Daqian, one seal;
Daqian hao (square relief)

SCROLL 3

"On Passing the Exams," by Mengjiao (751—814) '"

The wretchedness of former days isn't worth a sigh.
For dawn is broad and vast and my thoughts are w ithout
bounds.

The springtime wind is to my mind, my horses hoots run swift.
All 111 a day, I shall see every flower in C^hang'an.

SIGNATURE Bada Shanren

THREE SEALS Zliciislhiiio (square relief), Biuhi Sluviivn (square
intaglio), Hcyiiiiii (square relief)

SCROLL 4

"CAingratulating Pei Tingyu on Passing the Exams in Shu,"
by Li Bo (active 87()s-SH0s)"-'

AtTongliang, a thousand leagues, the clouds cif dawn disperse.
For the list ot the immortals has come from the Purple Palace.
In heaven above you already spread your newly teathereci wings.
And shall not return to the ciust and grime of the world before."^

siCiNATURE Bacia Shanren

THREE SEALS Zliciislhvn^ (squai'c relief), Biuld Sluiinvn (square
intaglio), Hcynau (square relief)

TWO COLLECTOR SEALS

Zhang Shanzi, one seal:
Sliaiizi sliciidiiig (square relief)

Zhang l^aqian, one seal:
DaJciiiit(Vi<^ ilhiin^u'ii (rectangle
relief)

TWO COLLECTOR SEALS

Zhang Daqian, two seals:
Daqiaii yoiiiiiu (oval relief),

Bllfll (^IIIVII OdO llOlllVII

(horizontal-rectangle relief)

2QJade Hairpin Blossoms and

Excerpt from the "Sequel to the Treatise on Calligraphy

in cursive script, ca. 1702

Two album leaves nuiunted as hanging scroll: ink on paper
PAINTING 29.9 X 34.3 cm; c ALLiGRAi'HY 30.0 \ 34.3 cm
Bec]ucst from the collection ot Wang Fang) ii and Sum Wai,
donated in their memor\- by Mr. Shao F. Wang

oLiTsioF; LAiiEL (Noi SHDVX N) b\' Zhang 13aqian (IS'H.)— |9S3)

Hciiipiii, bv Bada Shanren. Presented by Datengtang
[Zhang DacjianJ

TWO SEALS Zhaii<^Yuaii (square intaglio), Daqian jitslii
(square reliet )

BOTTOM LEAF

jiiilc Hiiiipiii Blossoms''''

insc:kii'tic)N On a dav in "little spring"" |tenth lunar-inonth|
Heyuan"

ONE SEAL Hcyuaii (square relief)

ONE SEAL Hcyiiiiii (square relief)

TOP LEAF

Excerpt from the Sccjiicl to tltcTiratisc on ( ^dlliompliy, bv |iang Kui
(ca. 1155-ca. 1233)"

"Emperor Taizong of the Tang dynasty said, 'He lay Wang Meng
upon the paper and sat Xu Yan tmder his brush," so as to ridicule
Xiao Ziyun,"" and such people. Written bv Bada Shanren'"*

SEVEN t:OLLE(::TOR SEALS

Cao Buxun (unidentified),
one seal: Minoyi Cno Biixiiii
jiiiiitliin; yiii (rectangle intagHo)

Zhang Daqian (18W - 1983),
four seals: Bicslii i'oin;yi (square
relief), Dchjiiiii yoiniiit (owil
reliet), Wiiihci dono.xi zlii yon
xiiiiiosiii u'li hii li (square
reliet ), Ddfciii^idni; liiinjiivio
Kiiiican Xiici^c Kiii^Uii moyiuui
(rectangle reliet )

Wang Fangyu (1913-1997),

one seal: Fmigyii (rectangle

o rehef)
o

< Sum Wai (1918-1996), one

ij seal: Slivn Hiii (square reliet )

THREE COLLECTOR SEALS

Zhang Daqian, two seals:
DdlcnotiUii^ lidiijiiino Kmicdn
XiiC{>c Kiiitiid nioyiidu
(rectangle reliet ), Qiiitit hno
(^nion ijino (horizontal-rectangle
intaglio)

Sum Wai, one seal: Shcii Hiii
(square relief)

130

131

30 Couplet

in running script, ca, 1702

Pair of hanging scrolls; ink on paper
EACH 141 X 3tl.4 cm

Purchase — Funcis prov ided by the E. iihodes and Leona 13.
Carpenter Foundation in honor of the 75th Anniversary of
the Freer C.allery of Art

Books and pictures are theinseKes an IniinortaK' Cdianiber,
I view the Southei n C\ipital as the Dipper and Mount Tai. ""

SIGNATURE Bada Shaiircn

THREE SEALS ')'(io:liii (squai'e intaglio). Bihla Sliiiiiivii
(sc]uare intaglio), Hcyiiiiii (square relief)

SIX C OLLECTOH. SEALS

Unidentified collectors, five
seals: linocaoshiiii'ii (o\'al relief";
right scroll); (j Qiiaii tiiiii^i'iiiio
(sc]uaiv intaglio; right scroll),
Yiiigqiidii :liriu\iiio (square
reliet; lett scix)ll); Giunlii
zliciicain^ (rectangle relief;
right scroll), Hitoliain; (hioslii
Baiyiiii-slmiii^iiaii jiaiicdiii^
(square reliet; left scroll)

I Wang Fangyu (\')\j-\')')7),
< one seal; Shijizliilii (square
ij intaglio; left scroll)

134

in running-standard script, ca. 1702

Album leaf; ink on paper
3l).() X 34.3 cm

Purchase — Funcis providcci by the E. Rhcides anct Leona B.
Carpenter Foundaticinm honor of the 75th Anniversary of
the Freer Gallery of Art

"Composed on Stopping for the Evening at Deer Gate
Mountain," by Yan Fang (early to niid-Sth century)'""

The place Pang Gong went to seek reclusion.
Is hard to tlnd as tocitprints on the waves.
My drifting boat arriws before nightfall.
I grip my walkmg-stick and take a stroll.
Between double cliffs, the Deer Gate opens,
A hundred \\ indmg \alleys heaped w ith gems.
Water spouts and spurts above the torrent.
Mountains pound and boom withm the surge.
More lofty they stand than the Jiao Plateau,
The Liihang Gorge was never cjuite so rough.
I've been traveling since the midcile ot spring.
Now summer birds chatter tenderly and low.
On sweet grasses, the color has grown late.
Still the wayfarers heart does nc^t return.
Wandering abroad, I do not flee the world.
But seek the Dao to save m\ vouthful face;
How can cine follow cle\\M'ness and cunning.
Grab and contend tor an awFs-tip ot space?'"'

POSTSCRIPT Copying ////;/ the calligraphy of Yayi Shanren
[Wang Chong, 1494-1533]. Bada Shanren'"-
THREE SEALS Sliiilc (rectangle relief), Btula Shtiinrii
(sc]uare intaglio), Hcyiiaii (sc]uare relief)

THREE COLLECTOR SEALS

Zhang Daqian (lS9'^;-iyS3),
one seal; Dafeiigtaiig (square
relief)

Zhu Shengzhai (ca. 1902-
1970), one seal: Ziiu Shciiozliiii
sliiiliua ji (rectangle relief )

Wang Fangyu (1913-1997),
one seal: Sliijizliilii (square
mtaglio)

i

f

f '/T

I

5^

a f

I)

it I

-6 #

32 Copy of Two Letters by Huang Daozhou

in running-cursive script, ca. 1702-1705

Two double album leaves; ink on paper
25.1 X 32.2 cm; 23.1 x 32.3 cm

Purchase — Funds prt^x'ided by the E. Rhodes anci Leona B. C'.arpenter Founciation
in honor oi the 73th Anniversary ot the Freer Gallery ot Art

LEAF 1

Excerpt from a letter by Huang Daozhou (13<S3- 1646)"'*

My small-cin sive script being sparse and spare, I follow conven-
tion and make outline copies, so my writing is unable to achieve
the standard. If the scribes m the marketplace were to see it, they
would simpK' make tun ot me. Hax'ing recened \our order to
write something tor you |in this st\'le|, w hen I ha\'e one or two
days' free time, I shall come to get my "tlock of geese." [Last sen-
tence unintelligible due to losses in original paper and text.)
Daozhou bcws his head to you.'""*

POSTSCRIPT Copying ////// the calligraphy of Master Shizhai
[Huang Daozhou]. Bada Shanren
ONE SEAL .S7/;(/c (rectangle reliet )

LEAF 2

E.xcerpt trom a letter by Huang Daozhou

I am ivturning the W'ciixiiiii tonohiio [General history of institu-
tions and critical examination of documents and studies], but the
Illiisti'dtCil Siiijniiiv seems tine. Since my bookshelf cannot bear
such large \-olumes. I am sending them to you, so you can have a
look to see it you want them. I have also written two poems,
which I am sending along. Daozhou bows his head to you.'"'

POSTSCRU'T Calligraphy ot Master Shizhai [Huang Daozhou].
Bada Shanren

ONE SEAL .s7;/(/(' (rectangle relief)

TWO COLLECTOR SEALS

Wang Fangyu (1913-1997),
one seal: I-\inoyii (Imked-square
relief)

SumWai (1918-1996), one

o seal: Slicii lliii (square relief )

o

<

<

THREE COLLECTOR SEALS

Zhang Dacpan (1S99-1983),
one seal: Ddfcii^anci zhciiwaii
(horizontal rectangle relief)

Wring Fangyu, one seal: Wlmg
Fcvi'^yii (scjuare reliet )

Sum Wai, one seal: Slicii Hni
(scjuare relief )

Landscape after Ni Zan ca.i703-i705

Double album leaf; ink on paper
25.1 X 32.3 cm

Bequest from the collection of Wang Fangyu and Sum Wai,
donated m then' memory by Mr. Shao F. Wang

INSCRIPTION NiYu [Ni Zan, 1306-1374] panited like a celestial
steed bounding the void or white clouds emergmg from a ridge,
showing not a speck ot mundane vulgarity. I drew this [painting]
in my spare time.'""

NO SIGNATURE

ONE SEAL Sliidc (rectaiigle relief)

TWO COLLECTOR SEALS

Wang Fangyu (1913-1997),
one seal: IVaiiii Fangyu
(linked-sc]uare relief)

Sum Wu (1918-1996), one
seal: Slicii Hiii (square relict )

141

NOTES TO CATALOGUE

ABBREVIATION

^■^-f-jtM (The Electronic Version ot Sikii qudinlui |Weiiyu,iny;e edi-
tion], prot'essioiiiil version 1.0). 163 discs. Hong Kong: nigit.il Heritage
Publishing. Chinese University Press, 199'^.

ENTRY 1. Lotus

1 Dated bv W,ing F,ingyu to c.i. 1663. tins .ilbniii is .iinong the h.indtul
of sur\ i\ ing w orks done b\' B.id.i Shaiiren w liile he w as still ,i Buddhist
monk. For a discussion ot this .ilbiini.see Wang Fang\ ii and Kicli.ird M.
Barnhart, Mastci of ilic Loiii.^ Cuiulcir.Tiic Life tiiid An oj Bada Sli,iiiicii
(1626-1705) (New Ha\en:Yale Uiiu ersitv Art Galler\ and Yale
Uiiiversitx' Press, !')''()). .S3-.S4 (c.it. no. I. tig. 4.S).

On the names that Bada used .is a monk, see Rao Zongyi,
"'Chanseng ChnaiK|i qi.iiihon qi niinghao /hi ]ieslnio"" (Interpretations
ot \vinous psendomnis eit the Cdi.m monk C'huanqi). in Diioyuii (Art
Clouds Quarterly) LS (October l')S7): LS()-.S3, reprinted m Wang
Zhaowen.ed.. Badd Sluiiiicii qiiaii'ii (Complete works ot Bada Shanren),
5 N'ols. (Nanchang: ji.nigxi meishn chub.inslie, 2( K )l I), 3: 11)4 1 -4,3.

ENTRY 2. Siiipmrc of flic Inner IZiidiiinccs of rlicMllow Conn

2 Dating to the mid-t'onrth centurx' of tlie common er.i. the
Hiiaiiotiii'^iiiio (Scripture ot the Yellow Court) is one ot the most iiitlu-
ential and popular texts belonging to the Sliangqing (Highest Purity)
School of inedie\'al Daoisni.Tlie text exists m two poetic versions: a
single "-'"-'-line version, known as the outer scripture. ,nid ,i more com-
plex 433-line \'ersion du ided into thirt\-six stanzas ot iinex'en length,
known as the inner scripture, which is the text that B.id.i Shanren
recorded in this album. The contemporarx' calligrapher Wang Xizhi
(ca. 3(l3-c.i. 361 C.E.). who was himself a pr.icticmg Daoist, is said to
have transcribed both versions of the text in standard script, examples
ot which still e.xist in the tcirm ot rubbings. Each \ersion has a long ,ind
independent history in the cilligr.iphic tradition, and it was probably
this histor\' that prompted Bada to create his own transcription, and not
the philosophical or religious content ot the text. For ,ni o\'er\ ie\\ ot
the early calligraphic traditum surrounding the Siiipiiin', see Lothar
Ledderose, .\// Fii iiiid ilic C/./.vMii// liiiditioii of (Chinese (Ailli'^mpliy
(Princeton: Princeton University Press. I')7''). 70-7 I.

For a bnet discussion ot this album, see Wang Fangvii, Biida Sli,uiicii
fiisliii fl (B.ida Shanren's calligr.iphy in the collection ot Wang Fangyu),
m Miiiofid littiiiiio: Zlioiii^oiio iiiiii'^fid faslui qiidiifi (Han Mo, Calligraphy
of Famous Masters), ed. Htii L.u Pmg (Xti Liping), 2 \ ols. (Hong Kong:
Han Mo Xuaii Publishing, W^), 1:6-17 (leaves published out of
order). Ap, n't troni the inner vcrsKin ot the Snijitiiic seen in this .ilbum,
Bada Shanren also tr,inscribed the outer \eision on .it le.ist one occ.i-
sion;seeWang Fangyu, Bndd Slidiiicii fiisliii fi, ]:IS-33 (album ot thir-
teen leaves, dated to c.i. 1684).

3 Bada Shanren wrote the text ot the Scriptiiir as a continuous whole
and did not indicate mix breaks between st.m/.is. lo the c.isn.il \ iewer.
this may obscure the tact that the current .ilbiini is incomplete and con-
tains a little less than two-titths ot the total text: the where.ibouts oi the
missing lea\es is unknown. The current .ilbuni contains tour discrete sec-
tions ot the text: Lea\'es 1-2 run troni the beginning ot st.inza I to the
beginning ot stanza 4: leaves 3-6 run from the end of stanza 13 to the
beginning ot st.inza fS; leax'cs 7-.S, though cnrrcntlv mounted in rewrse
order, run troni the end ot stanza 26 to the beginning ot st.inza 2^: and
le.ives 9— 1 1 run tixim the middle ot stanza 33 to the end ot stanza 36.

Bada Sh.inren's transcription ditters in m.ui\' signiticant instances
f-oin both the standard published text and the rubbing cited below. His
immediate source theretore remains uuidentitied. For an annotated text
ot the inner x'ersion cit the Siiijtiiiic. see Zhang luntang (,icti\'e
I ( )( )S— 1( )29), comp.. qiqiaii (Sexen lots troin the book bag ot the

clouds). II : I 1,1- 12:3 lb. in \\'SK(^S, disc 116. [or a rubbing of the com-
plete text, see Bi Yu.in ( 1736- 1797). comp.. fiiioMiiitaiio jailiii
(Exeinplar\ c.illigr.iph\- in the fingxnnt.mg). 12 vols. (Cduii.i: priwitely
published. I7S9), vol. I.

Two recent wxirks pio\"ide a general introduction to the l-liiiiin;liii<iiiii'^
111 English: Isabelle Robinet."Tlie Book of the Yellow Court," in Tdoist
Mcdir,iiioii:'llic Miio-:^lidii liaditioii of (Jn\ii I'liiliy. ti.iiis. Juli.iii F Pas and
Norman |. ( hr.irdot (Alb, iii\ : State Uniwrsitx of New York Press. 1963).
33-96; and P.iiil W. Kroll, '"Bodx- Cods and Inner Vision: The Scripture ot
the Yellow C'ourt," in Rclioioiis ot (^hiiia in Pioiticc, ed. l^on.ild S. Lopez Jr.
(Princeton: Princeton Uni\ersit\ Press. |96(i). 149-33 (w ith translations
ot the first tour stanzas ot the inner version).

4 Dated August 1 1. I6S4. this colophon bears the artist's earliest
recorded sign.iture in which he uses the sobriquet Bad.i Shanren. the
n.ime bv which he is best know n to histor\'. While B.ida asserts in the
colophon th.it he eiiiul.ited the calligraphx ot the "Two Wangs." w hich
IS to s.iy Wang Xizhi (c.i. 3n3-ca. 36l c .e.) and his son Wang Xianzhi
(344-388 C.E.),he actu.illv chose to eiiiphn' his own style ot running-
st,indard script, rather tli.iii the pure st.indard script tli.it .ippe.irs in rub-
bings of the text attributed to the elderWaiig.

Bacia Shanren also quotes a conversation preserved in the biography
of Ruan Zhan (ca. 279-ca. 3IIS t .l.). courtes\ -iiaiiie Qianli. w ho was
tVoiii the conimanderv of Chenliu (Henan Pro\iiice).The coin'ers.ition
occurred w hen Rii.iii was .i young man and h.id gone tor ,in interview
w ith the powertul minister Wang Rong (234-303 c .E.).w lio was so
impressed w itli the subtle auibigiiitv ot his response to the c]uestion
recorded here tli.it he .ippointed Ruan to his st.itt. See Fang Xuanliiig
(578-648) et .iL.comps.. fiii (llistor\- of the jiii dx n.istw 263-420
c.E.) (Beijing: Zhonghn, I slin]u, 1674), 49: 13(>3.

Bada Slianren's comment tiillow iiig this i.iuot,ition does not have any
ob\ ioiis point ot reterence. A possible .inswcr iii,i\' he in B.id.i s tiii,il
st.itement th.it this w.is the second time he h.id written a colophon tor
the .ilbum.dliis suggests th.it the current text iiiav be a sort ot postscript
to the previous colophon, w Inch is now lost .iloiig w ith the missing
two-titths of the scripture text. In ,in\- c.ise, gi\en Rii.in Zh.ins lite d.ttes.

there is no kimw n liistoric.il coiinectimi citlicr between l^^uan Zhan and
the Si'iij>niic ol ilic^clloii' (Joiiil, or li^uan Zlian and tlie d\\ o Wangs.

ENTRY 3- LiliU- Floii'cis and Calliordpliy

5 This stiakiiiL; seal is engraved w ith an arehaic torni ot tlie character
tor "inoiintain." For a secoiul work hearing an impression ot this seak
see Wang Zhaowen, eci., Inida Sli,iiiicii quaiiii. 2:714 (cat. no. l4.kMt (>:
album dated 1(189),

6 Aside troni some ot his late landscape paintings, this small album leaf
is one ot tew extant works w here Hada Shanien uses color. On the
accompam'iiig leaf ot calligraphy, L5,it1,i st,ites th.it he w.is follow ing the
style ot Lii Zhi (1496— 137(i), whc)se sobrK|iiet (into) w.is Baoslian, Lu
Zhi IS primarily known as a landscape painter but was also renowned
for his seiisitu'e tlower studies, w Inch gener,illy bear little resemblance
in st\le or execution to the current leaf. As is often the case w ith li.iil.i
Shanren, the precise b.isis for his assertion ot st\ listic ,ittinit\' w ith ,i p.ir-
ticular artist rem.iins clusne.

This painting once belongeci to a larger album, oiiK' one other leaf
h-om which is known to exist (showing a c]uince). For discussions ot
the current leaf and .iccompanving leaf ot calligraphv, see Wang and
Barnhart, Mdsrci of the Louis ( niidoii. I 10- 1 1 (cat. no. 1 1, fig. .^.S); and
Wang F.mgN'u, Biidii Slniiinii ja-'lin ;/, I:,t() — ,s7. For the i.]uince p.iinting,
which IS in the collection ot the Princeton Art Museum, see discussion
m Wang and Harnh.irt, .\Lislci of llio Loliis ( ,,iiiloii. 111-12 (cat.no. 12,
fig. 56). For .mother Bada Sh.iiiren painting ot liku flowers (done in
pure ink), see Wang Zhaowen, cel., BiuLi Slnnircii qiuiiiii, 1:67 (cat. no. 13,
leaf S: album dated I()1S4). More recentlv, the t\\'o leaves seen here pre-
viously belongecl to a mixed album ot ten leaves assembled trom dis-
parate sources, six ot painting and tt^ur ot calligraphy, five leaves, two of
painting and three ot calligrapln; .ire included elsew here in this \ ()luine
(cat. entries 6, 7, 32, .iiid 33). fwo other leaves (respectu el\- show mg a
cat and .i chicken) are published in Wang and Barnhart, Miisici oj tlic
Lotus Giirdcii. l()S-9 (cat. no. 10, fig. 34).

ENTRY 4. B^IIIlltOO, dllil Slllilll Bilds

7 For .1 discussion of this painting, see Wang and B.irnh.n t, .\Listci of the
Lotus Curdcu. I2')-3I (c.it. no. 23, tig. 6S). It is difficult to n.nl down
Bada Shanrens precise usage ot the word shcshi. w Inch .ippears both

as part ot his signature and as ,i seal on numerous w'orks produced
between |6VI) .md |6''4 (see also cat. entry 5). Over the past fifteen
years, the term h.is received ,i number ot different translations into
English. For example, see Wen C^. Fong, "Stages in the Lite ,md Art of
ChuTa (a.d. 1626- I7()3)," .H/<7)(ir.- ofAsuiuAii 4(1 (1987): l5-l6;Wang
.md Barnhart, Muster of the Lotus ( iurdeii, I 12 and 149: and 1 lui-shn Lee,
"Bada Shanrens Bird-.ind-Fish F.nntiiig and the Art of Iraiistormation,"
.'hrhiirs ofAsiuu.irl 44 (I9'>|): S-9. For the purposes of this book, the
■luthors have chosen to follow the tr.mskition est.iblished in Miistei ol the
Lotus ijiU'deu: "involved m affairs."

8 As st.ited III Ills colophon, the mc"idern painter and ccillectc:>r Zhang
l).ic]iaii believed the current work to h.i\e been much larger originally
th.m when he .iccjuired it. Lie theretiire added wide strips of p.iper to
both the right and left ot the painting, and "restored" a corner of the
rock and foreground on the right side with a few strokes. Zhang then
inscribed his colophon down both sections ot new paper, framing the
original p.inumg with his te.xt. Since Zhang himsclt produced c]uite a
number of copies and original works in the style ot Bada Shanren, the
current scroll show mg the brushwork ot both men side b\' side is .in
mwiliiable resource fcir understanding the difference between their
respectu'e technK]ues.

ENTRY 5. I'illliiio Llouri. Hitihllid's Haiiii Citioii,
Hihisi'its, .md Lonis Pod

9 For discussions of this leaf, see Sheii C. Y. Fn, Ttuees of the Biush:
Stiiilies in ('hiiiise ( ^uhiohijdiy (New Ha\"eii:Y.ile Lhiiwrsitv Art Gallcrv,
1977), 188 (cat. no. 71), 198, and 280; and Wang Fangvu, Shuineii
fishii ji. 1 :39.

The tour le.ives presented here origmallv come trom .in .ilbum ot
six'teen leaves. Eight leaves, including these tour now in the Freer ccil-
lection.are published m Zhang Daqian, Duf-iiotuiii^ iiiiiioji (Famous
works m the Datengtang collection ot Zhang Dac]ian) (Kvoto: Benrido,
1933-36), \-ol. 3, plates 13- 16. Eight other leaves, now m the Princeton
Universit\' Art Museum, are published .ilong with a discussion ot the
complete .ilbLiiii in W.iiig .md Llirnh.irt, Muster of the Lotus Gurdeii.
131-33 (c.it. nos. 24-26; figs. ()9-7l).The sixteen leaves .ire also pub-
lished 111 two sections 111 Wang Zhaowen, ed.. Badu Shuiireii qiuiuji,
4:744 - 47 (cat. no. 33.1-8) and 4:76(.-69 (cat. no. 43.1-8).

ENTRY 6. Execi'pt from llic "I'lcfiur to flic Siuivii Tiukliiiios"

10 This text IS an excerpt trom the second h.ilt ot the "Sanzang
sheng]iao xu" (Preface to the sacred teachings |tr.inslated| bv Tripitaka),
composed m 648 tor the Buddhist monk and translator Xuanzang
(6(l2-6(>4), also known as Sanzang (Tnpitaka), by Emperor Tiizong of
the Tang ciynasty (reigned 626-49). Xuanzang had recently brought a
large group of Buddhist te.xts from India to China and had embarked on
a massive translation project under the p.itionage oi Emperor Tiizong.
After his succession to the throne in the following vear. Emperor
('.aoz<'ing (reigned 649 — 83) continued to support Xuanzang. In 632, the
monk rec]uested th.it a pagoda be built to house the texts .md images he
h.id brought back,.iiid the emperor complied by ordering construction
ot the Wilci Goose Pagoda (Yanta) at the Temple ot Compassionate
Grace (Ciensi), located in the imperial capital. On the south side ot the
pagoda, a stone monument was erected m 634 bearing Emperor
Taizong's preface written in st.indaid script bv the eminent court callig-
rapher and impen.il advisor Cdni Suiliang (396-()38). Through dissemi-
n.itioii ot rubbings m.ide trom this stone, which still st.mds at the
p.igod.i, Chu's transcription ot Emperor Taizong's preface became part ot
the mainstream c.illigraphic tradition and w.is trecjuently enniLited ox'er

the centuries as an orthodox model ot standard script. Although Bada
asserts that he was copying (liii) the style ot C"hu Suiliang m writing this
album leaf, his use ot running-standard script, instead ot the traditional
tbnn ot standard script established by Chu.adds a measure ot idiosyn-
cras\- to his rendition ot the text.

Bada's usage ot the word "copying" (liiil is problematic and clearly
me.iiis something other than the usual detinition. For other examples
and turtiier discussic)n, see catalogue entries 21), ,ind 32; and notes
fi7, 47, Ill2, .md 11)3. For a rubbing ot the stele bearing Chu Suiliang's
transcription ot Emperor Taizong's pretace, see )niiiii "Sliciioji<io xii" hei
(Stele ot the "Pretace to the Sacred Teachings" at the Wild Goose
Pagocia), in Sliosckl iiiciliiii :^dktiii (Compendium ot tamous works ot cal-
ligraphy), \'ol. 10 (Tokyo: Nigensha, l')(i''-SI). For the standard printed
text ot' Emperor Taizongs preface, see F^uili (615 — ?) andYancong
(active mid- to late 7th centurv), D<itdiio da Ci'ciisi Saiizdiio fcislii zliiiiiii
(Biography ot" Tripitaka, theTeaciier ot tiie Law, ot the Great Temple ot
Compassionate Grace ot the Great Tang l')vnast\ ), in 7i'i;.^/u' shiii^lnl
Ddizo-lKyo (TheTaisho edition of the Buddhist Canon) (Tokyo: Taisho
shinshu !")aizo-k\o kankc> kei, I')(i2), 5i i:25(i.

For discussions ot this leat, see Shen C. Y. Fu, Tivia^ of ilic Brush .
160 (cat. no. 70), ISS, and 2S0;Wang and Barnhart, ALurci of the Lotus
Giudcii. 144-46 (cat. nc~). 32, fig. SO, leat b): and Wang Fangyu, B<?(/ii
Shiiiinii jiislui ji. h40. Bada Shanren e\'identK' telt some attraction tor
tile text ot this pretace since he wrote it oni on .it le,ist two other occa-
sions: ,111 .ilbum leat, dated 1642, trom a ten-leat album, containing a
ditlerent excerpt starting from the beginning ot the pretace, published
m Kokka 724 (jul\- U)52): 230; and a p.iir of .ilbum lea\ es. dated l6'^)3,
tivni an album ot sixteen leaves m tiie Shangh.u Museum, containing
an excerpt that starts at the same place, but is t\\ ent\ -two characters
longer than the Freer text, 111 Zhongguo gudai shuhua jiandmgzu
(Group tor the authentication of ancient works ot Chinese painting and
calligraphy), comp., Zhoiiooiio oiiclui sliuliiiii luiiui (Illustrated catalogue
ot selected works ot ancient Chinese painting and calligraphy), vol. 4
(Beijing; Wenwu chubanshe, l'-)yo),33S {IIu 1 :2724, leaves 10-1 1): also
published in C'onglm, Rk/j Shuuuii liuiuuo ji (CAillection oi ink works
h\ Bada Shanren) (Beijing; Zhishi chubanshe, IMMO), 30-51. For a brief
discussion ot these various album leaves, see Wang Fangyu, "Bada
Shanren de shuta" (The calligraphy of Bada Shanren), in 6<7(/i! Shuuicn
huiji (An Anthology ot EssaN's on Pa-ta-shan-jen), ed. Wang Fangyu,
2 vols. (Tupei; Guoli Bianyiguan Zhonghua eongshu bianshen
weiyuanlnn. I')S4), l:3'-J4.

This calligraphy leat most recently belonged to a mixed album ot
ten leaves assembled from disparate sources, six ot painting and four of
calligraphy. Six leaves, three of painting ,ind three of calligraphy, are
included elsewhere m this volume (cat. entries 3, 7, 32, and 33). One
o leat IS unpublished and two other lea\es (respectively showing a cat and
< a chicken) are published in Wang and Barnhart, Muster of the Lotus

5 Ganlcii. |(i.S-'J (c^it. no. Ill, fig. 54).
o

11 According to Wang Fangyu, this slipper se.il is ditferent trom Bada
z Slianren's usu.il slipper seal and only .ippears on works dating from 1642

144

to 1643, a tact that aids in the dating of this leaf.The same seal also
appears on the accomp,in\ ing landscape painting (see cat. entry 7),
coiitiriniiig th.it these two them.iticalK' unrelated works were probably
crcited .irouiid the same time and tor the s.ime .ilbum. See Wang
Fang\ u. liulii Shuiuvii fushii 11, 1:40.

ENTRY 7. LiVidscapc after Doii'^'\'itnii

12 Beu u.in (North l-'ark) is an ,ibbre\'i.ition ot an official title once held
by the mid-tenth-centur\' landscape painter l)ongYuan (died 462).
Dong served as Administrator of the Nortli (or Kear) Park under the
rulers ot the Southern Tang kingdom (437-475), which had its capital
on the Y.iiigzi i^i\er at the modern city ot N.in|ing, jiangsu Province.
He IS considered the tounder ot the Southern School ot landscape
painting, which Bada Shanren geneialK followed. For other works by
B.ida 111 the st\ le ot Dcmg Yu.in. see catalogue entries S (lea\'es 2-5)
,ind 12 (le.it I) in this \ olume:Wing and B.irnh.irt. Mustci ot the Lotus
Guiilai. l(>4-66 (cat. no. 43, tig. 46; hanging scroll, c.i. 1646); and Wang
Zhaowen, ed., Boda Shuuicii quuiiji, 2:457 (c.it. no. I IS; hanging scroll,
undated), 3:561) (cat. no. 173; hanging scroll, undated), anci 4;S36 (cat.
no. S4; leat 7, undateci).

This leat most recently conies tiom a mixed .ilbum ot ten leaves
assembled trom disparate sciurces, six ot painting .ind tour ot calligraphy.
Six le.ues. two ot painting and tour ot calligr.iphy .ire included else-
w here in this volume (cat. entries 3, 6, 32, and 33). One leat is unpub-
lished ,ind two other lea\es (respectneb showing .1 eat and a chicken)
.ire published in Wang and Barnhart, Muslcr oj ihc Loins Garden. 108 — 4
(cat. no. 10, tig. 54).

13 See note 11.

ENTRY 8. Coiiibiticd Alhiiiii of Pdiiitiin^ and Ctillioiiip]ty:
"Gria'iiio for a Fiillcii Satioii"

14 Naito Toraiiro (IShh— |434). also known .is Naito Konan and Naito
Tora, was an important Japanese scholar ot Cdiinese historx' and a con-
noisseur of C'hmese painting and r.ire books. N.iito probably inscribed
this outside label around the same time tli.it he w rote his colophon for
the , ilbum in |43o (see leaves 13—15). On the lite and career ot Naito
Torajiro, see Kokiislii duijiion (Encyclopedia ot |.ip.mese history) (Tokyo;
Yoshik.iwa kobunslia. I47S~S4), II 1:5 1 6- 1 7; and Kodunshu Encyclopedia
offapan (Tokyo .ind New York; Kodaiisha Ltd., 1483), 5:311. See also
note 35 below.

15 Sh.iiKii, Pi inee Su (1866- |422). w ho sometimes used the sobriquet
OuN uan, was a high-ranking member ot the C^ing iniperi.il house and
l.ist holder of the hereditar\- title l^rince Su. w Inch he receu ed in 1S4S.
Sh,iiK|i rose through a series c"it high goxernmeiu positK>ns during the
l.ist decade of the Qing dynasty (1644- 14| |), and atter the founding ot
the Kepublic oftdiiiia 111 February 1412, retired to Tianjin (Hebei
Province) .md then to Lusliun (Liaoiiiiig Province). See CheiiYutang,

cd., Zlioiiooiio jiiixidiidai rcinni niiii<Jiiio daiiiliaii (Dicnoii,ir\' ot u;i\'en
names and sobrK|nets tor tiyiiivs \vom recent and cc>nteniporar\' Cdinia)
(Hangzhon: Zliejiang gu)i ehnbanshe, l'^'^'3). S')'^) (w liieh also gi\'cs an
alternatne death war ot l')27); and Arthnr W. Hinimiel, ed.. Eiiiiiiciil
(diiiicsc ('/ ///(• C7/'//(t; Period, 2 \'ols. (Waslinigton. D.C: United States
Clowrnnient I'rniting Ottice. I'-M,^), l:2,Sl (whieh gives Slianqi's lite
dates as: 1,S(>3- li)2 I).

Shanqi evidently wrote the frontispiece to this album at the ret]uest
of a Mister Wencpiig (unidentified), who is also mentioned as the
album's owner bv Wii Cdiangsluio (l<S44- l'-'27) in his 19(17 colophon
(see leaves 11-12). ShaiK]i affixed three seals on the trontispiece, one ot
which IS car\ed w ith the c\ clical date diiiosi ( I 1 7). presiimabK' the year
he w rote the ti'ontispiece tor Wenqing. As a tellow imperial siir\ ivor ot a
fillen d\ nast\, ShaiK]i must have identified closely w ith the tate ot
Shanren, and seeing this album brought the sorrow s ot his ow n times to
mind. The phrase he chose tor the trontispiece. "gnex ing tor a t.illen
nation." eqiiallv applied to the lives ot bcith men and was intended to set
the correct pcilitical and ps\'ch(ilogical tone tor viewing works bv 13ada.

16 For a discussion ot the tour paintings m this album, see page 7 and
Wang and Barnhart, .\Lhici ofilic Loni.-^ Cjdidcii, I(i2-(i4 (cat. no. 42, fig. 95).

17 Little has been published .ibout the import.mt mneteenth-centurx'
collector Dai Zhi. He was from Zheniiang ( [langsu Prcn ince), and was
active as a collector during the IXioguang reign period (liS2l-50).
Seven ot Dais seals ,ippe,ir m this .ilbum: one on each painting bv Bada
Shanren (tour seals), and one with each c.illigraphy le.it or set ot callig-
raphv leaves b\' Bada (three seals).

18 As main' commentators h.i\-e noted, B.id.i Shanren's poetrv is otten
quite ditticult to underst.md. A liighl\- educated man, he w.is app.irentlv
tond ot word plav and seems to have had an active sense ot humor.
Ambiguity is a constant tool ,ind, w hile Bada s language is generally
simple on the surt.ice, he trequentlv employed colloquialisms, puns, odd
syntax, rare locutions, private references, ,iiid a complex array ot t^ipicil
allusions and ,issociations that sometimes render the meaning ot a poem
,ilmost unintelligible. The tour poems on this leaf are a good example tsf
the problem. Fcir prcx ious tninslations, see Wang ,ind Barnhart, Md.^lci of
the Lotiii Gdiilcii. 22(1-27 (cit. no. 42). For transcriptions and other
brief comments, see also Wang Fangyu, Biidd ^hoincii lo.diii ji, 1:47.

Foem billies 1-2: At the end of line I, Bada used the unusu.il
ancient place name, YoiK]iian (from, or bv, fist), wdiich corresponds to
three loc.itions in modern Zhejiang Fixivince: the prefecture ot [laxing;
a mountain near Yuhang (west ot Hangzhou); ,ind .i \ illage at the toot
ot the s.mie mount.nu w here a kind ot w riting p.iper w.is m,Kle. While
some, or all, ot these associations ma\' pLn a role in this hue, the strange
literal meaning of the place name was probabK the pi im.ir\' ,ittr,iction
for Bada. He also used the place name Youquan in a different poem,
w here it .ipp.irently refers to w riting paper: see Wang Zhaowen, ed.,
tiadd Shiiini'ii qudiiji. 2:347 (cat. no. SS, leaf 2; album dated l(>''4) and
2:3'-^S (cat. no. 'H, leaf 2; album und.ited).

In line 2. the word lioiio (flood: broad, vast) nia\' stand for Hongzhou,
,111 .ilternatixe historical name tor Nanchang, the city wdiere Bada
Sh.mren li\'ed after leaving the Buddhist clergy.

19 Foem 2, lines 3-4: Xie)ie (literally: slanting stairs) is an old name for
Shixing Prefecture m northern Giuingzhoii Province. The prefecture
bore this nanre from the third to the e.niy sixth century C.E., when it
was briefly changed to Zheng]ie (literally: upright, or mam, stairs), and
finally Shixing. In the case ot this poem, B.ida Shanren appears to be
less concerneci w ith .in actu.il place, than w ith playing on the various
me.inings of the w ord .v/c (slanting, leaning, tilted, oblique, sideways),

w hich has a somewhat negati\'e connotation, and the word zliciio
(upright, true, proper, correct: principal, chief), which has stronglv
positi\'e connotations. E.ich ot these is jciineci as an adjective to the
base word jic, which can mean not only a physical staircase, but also
the steps or offici.il ranks ot goxernment.

Line 4 ends with the term ooiiyu (stirred, or moved, by experience),
which IS the title of a famous series of eighteen poems by the poet
Cdicn Zi'ang (dh I -71)2), who serwd at the court ot the usurper
Empress Wu Zetian (reigned (i''ll-7()3). Full ot D.ioist references, the
poems in this series were ,ilso interpreted to li.ive hidden political con-
notations critical ot the goings-on .it court. Hciw this reference might
relate to either the place names discussed above or Bada's life and times
remains unclear.

20 Poem 3, lines l-4:This poem may allude to the poet and prince
Cao Zhi (l'-'2-232 c .r.), who composed a famous work called the
"Luoshen tu" (Kh.ipsodv, or Frose-poem, on the Goddess ot the Luo
River), m wdiich he describes leaving the capit.il at Luoyang (Hen.in
l-'rovmce) tcir his fietdom locateci tar east ot the citv m Sh.indong
Province. On the way, he encountered the Goddess ot the Fuo River,
w ho invited him to join her in her w.iterv domain. Forced by circum-
stance to continue on his wav C'ao cast his girdle-jade (a jade ornament
suspended on a cord trcim the belt or girdle) into the ri\er as a pledge of
his kn.il affection. See Dax'ici Iv. Knechtges, trans.. Wen Xiidii: oi Selections
('/ Retnied Lileunnie, comp. Xiao Tong (31 1 1 — 53 1 ). \'ol. 3 (Princetiin:
i-'nnceton LJniversit\- Press. IM'Jh), 355-65. esp. 3(i I (line SO).

21 lAiem 4. lines l-2:These two lines are built around references to the
famous author, alchemist, and L^aoist master Tao Hongjing (45(i-53(i ( .£.).
As quoted hv Bada, some biographies of Tao mention that he had .i
"slender tornf ' (xi.xino) and that he "hid his shadow " (iiiyniii) while serv-
ing as .1 young man at court, winch is to say that he did not participate
in the social or pc>litical lite ot the capital. F.io dici, how e\er, establish
close relations during these ve.irs w ith .i number ot prominent courtiers
and imperial t.imiK' members, such as .Xiaci Yan (4(i3 — 54*^'), tuture
founder ot the Liang d\'n,ist\' (51)2-557). G)n retiring from go\'ernment
in 4''2 c .r:.,Taci mo\'ed to the sacred Daoist mountain Maoshan (Mount
Mao), Icicated sciuth ot the imperi.il capit.il |iankang (modern Nan]ing,
liangsu Province), wdiere he spent the next tc^rtv-tour years pursuing the
lite ot a recluse. For a relevant biography ot Tao Hongjing, see Yao Ch.i

(533-606) and Yno Silian (died 637), conips., I.idiio >/;// (Historv of the
Liang dyndst)', 502 — 557) (Beijing: Zhonghua shuiu, l''73), 51:742-43.

After his ascension to tlie throne. Xiao Yan, better known as
Emperor Wu ot the Liang d\ nast\ (reigned 51)2-4*^^), continued to seek
advice from Tao Hong]ing and often un ited him to return to court. Ou
one such occ.ision. he asked Tao what it was he found so .ippeahiig m
the niouut.iins, .ind Tao composed the tollowang f.imous quatrain m
reply: "What is there in the mountains? / On the peaks, there are white
clouds. / One can oiiK en]o\' them for oneself. / I cannot take them to
send to You." (N.13.. Main' sources name the emperor in question as
Emperor Gao of the Qi dynasty, Xiao Daocheng [reigned 479-K2
C.E.J, under whom Tao Hong]ing first took government service.)
"White clouds" are a frequent trope m Chinese literature, symbolizing
the realms of par.idise that he beyond the mortal world, as well as the
spiritual transcendence .ind life ot freedom enjoved hy the recluse. Bada
m.i\ h,i\ e li.id lao's poem in mind when he w rote line 2. For Tao
Hongjmgs poem, see Li Lang ("-'25 — 4^)d) et ah.comps.. liiipiiio oiidii^iii
(Miscellaneous records ot the Taipmg reign period. '^'7()-S3).
2(l2:''h- lOa. in \] SI\(JS. disc 114.

Lines 3-4: T he meaning behind these two lines remains opaque.
There is no apparent connection to Tao Llong|ing, and no other rele-
vant allusion has been located.

22 On May 7, Id'H), Bada Shanren w rote the le.it be.iring these four
quatrains for his triend B.ioxai. He probabK composed the poems at an
earlier time as inscriptions for paintings. howe\ er it is uncertain it the
four landscape paintings that accompany this leaf ci>mplement the texts
ill any v,'ay.The current album also contains three undated leaves of cal-
ligrapihy with eight additional quatrains that B.ida sent to Baoyai tor his
perusal (leaves IS— 10).

Joseph Chang was the first to correctiv identity the recipient ot the
paintings and cilligr.ipln in this album as Wu Chem an. cc^urtesy name
Baoyai, a scholar, poet, and painter from Qiant.mg (modern Hangzhou.
Zhejiang Province); see Zhang Zimng ([oseph C'hang)."C'hen Ym xing
'Chen" ma?" (Was (Tien Yan surnamed Chen?), CjIh^oiio u'ciiwii yiichaii
(National Palace Museum Monthlv) 134 (Mav I ''94): 44-103. A con-
siderable amount ot atlditional biographical intorniation concerning
Wu Chenyaii h.is come to light during research tor this volume, includ-
ing material that now establishes his lite dates as: I()(i3-after 1722.

Bada Shanren created at least two other know n works for his friend
Baoyai in 1694 and 1696. Lie wrote a sixteen-lme poem tor him on
June 28. 1694: see Wang Zidou, conip., Biuiii Sli,iiiicii ^liiclido (Poetry of
Bada Shanren) (Shanghai: Shanghai reiimin meishu cliub.iiishe, 1981),
25—26. He also painted a lanciscape hanging scroll for Baoyai, which he
^ inscribed with a quatrain on Fetirtiary 9, 1696, three months prior to

o writing the current .ilbum leaf: see Wang Zhaowen, ed., fiwi/.i Slittiiirii
o

< qiidiiji, 2:410 (cat.no. 101). From all this, one m,i\' surmise th.it B.id.i

5 Shanren andWu Cheinan maintained ,i incisure ot regular social con-
2 tact from at least 1693/1094 to mid-l(i''(i, w hen Wu was in his early
thirties and Bada m his late sixties.

o
z

146

23 Zhang Daqian applied his seals to each ofBada's three calligraphv
works (leaves 6, 7, 10) and at the end of the album (leaf 15), but not the
frontispiece (leaf 1). tour p.untmgs (leaves 2 — 5) or colophon b\ Wu
Cdiangshuo (leaws 11-12). Zhang apparenth' acquired this album from
Cheng Qi, who first published it: see Cheng Qi, Buifa SIhiiiirii ihtihua ji
(Caillection ot calligraphy .md painting by Bada Shanren), works m
the linsong caotaiig collection ot Cheng Qi (Kyoto: Toho bunka
kankokai, 1956). plates 5-7 (five calligraphv leaves) and 16-19 (four
landscape lea\es).

24 t^ii this le.if. Bad.i Shanren copied the text ot ,in e.irlier prose inscrip-
tion that he had w ritten tor .i tan painting. |udging from its inclusion in
this .ilbum. the leaf w as presumably intended for the enjoyment of his
friend Wu C'henyan (see note 22). None ot the contemporaries named
here by Bada have been identified: Wang Xizliai. Mister Shifcn.and
"elder brother" Shangshu. Bada states that he w rote this le.if in the first
ten-da\' period of the fourth lunar-month, but does not specifx the \ear;
however, it ma\' ha\e been around the same time th.it he wrote the pre-
ceding calligraphy leaf, w Inch was dated on the seventh day in the fourth
lunar-month of the hiiiozi \e.ir (Mav 7, 1696). For a previous translation
of the text, see Wang and Bariihart, ALisier of the Lotus Cnudcti, 111.

In the original Chinese, Bada refers to the famous Tang d\ nasty
poet Du Fu (712 — 770) bv an .ibbreviation of an official title he once
held in the ooiiohii (Ministr\' ot Works). I )u bus eiglu-liiie poem,
"Seeing off Secretarv Li the Figlith, 'has no app.irent connection either
to a birthday celebration or to Penglai, a mythical isl.md m the cistern
sea inhabited by immortals and the subject of the tan p.iinting Bada
inscribed. For Du Fu's poem, see Hong Ye (William Hung), compi.,
Diislii yiiidc (Concordance to the poems of Tu Fu), 3 vols., in Harvard-
Yenchiiig Institute Smological Index Series, supplement 14 (Beijing:
Yenchmg LJniversity, 1940), 2:435-36 (poem no. 2).

25 Poem 1, lines 3-4: Ruo\e Creek, near modern Shaoxing (Zhejiang
Pro\ nice), was famous .is .i pi. ice w here the ancient beauty Xi Shi (early
5th century B.C.E.) once picked lotus blossoms.

Bada Shanren wrote this poem on at least two earlier works: a lotus
painting in the album "Fish. Lotus, Clobefish, and liamboo" (dated
l(iS9), in the L. and C. Kosshaiidler Collection; .iiid .i h.indscroll, "Lotus
,ind Birtls" (dated Ki9(i),,n the collection of the Canciiinati Art Museum.
See Wang and Barnhart. .\I,htci ol the Lotus Gdidoii. lo3 (cat. 7, fig. 51,
leaf b) and I 15-18 (cat. 15, fig. .59).

26 Poem 2, lines l-2;The term "yellow bamboo" (liiidiio^liii) may allude
to a story concerning King Mu ot Zhou (Zhou Muw.ing; reigned
1001-947 B.c\E.). On one of the king's manv travels, he discm'ered that
the loc.il people were suttering .md dying from .m intense cold spell. To
demonstr.ite his coiupasMon tor them. King Mu composed three poems
using \ellow bamboo as ,i met.iphor. ,iiid personalK' went to spend the
night 111 a nearbv grove to sh.ire their miser\'. How, or if, this stor\' relates
to B.id.i Sh.inren's poem is unclcii, as is the reference to longzhou
(modern Nantong, |i,iiigsii I'un nice), w hich is the ii.ime ot both a

town and couiu\' located in>rtli (if tlie Yangzi Ri\'cr near its nimitlt,
rhcrc IS no known connection betw een Tongzhoii and Kiiiy; Mii;
however. Bada Shanren also used the tenn liiiiiiio: liii in one ot his
studio names (see note 33).

Lines 3-4:The last character m line 3 (taken here as fcii. divided)
has not been reliably deciphered, and the ineanmu; ot these two lines
IS uncertain.

27 Poem 3, lines l~2:There were at least two temples m Bada
Shanren's native Jiangxi Province named Kaiyuan Temple (or
monastery): one in Xin]iau (modern Nanchang), near Badas home;
ami one farther aw.iv m C'hougien. it is not clear it B.ida li.id either
place 111 mind.

Lines 3-4:The phrase yiio:i liiii^licii (sparrow-hawk thpping owr)
refers to a particular m,ineu\'er or pose emplo\ed b\' acrobats perform-
ing on a vertical pole iluring temple festivals; see Lian i^^iicheng (early
to mid-i()th century), .\/7;// yoiil.iiizlii yii (Sightseeing at West Lake, cc^n-
tinued), 2():7b. m U SKQS, disc 62. According to ancient law and cus-
tom, file gra\es ot commoners were planted with w allow trees; see i5an
Ciu (32-92 c .i;.), Biiiliii loii^iyi (Comprehensive discussions ni the White
Tiger Hall), 2;74b, m \]'SKQS. disc 92.

28 Poem 4, lines i— 2: West i^ass Plill (Xisaish.ni), loc.ited near modern
Wuxmg, Zhe|iang i-'ro\ ince, w .is where the Tang pciet and recltise
Zhang Zhihe (ca. 742 — ca. 782) composed five well-know ii poems
titled Wifii oc (Fishermen songs).

Lines 3-4; 'T5ig-headed stripe" is tlie tr.mslator's coinage tor a kind
ot fish know n ,is yoii{;yoiio, described m st.uukird sources as a striped fish
with a Lirge bo\ inelike he.uLThe onK' n\ei" in C'liina officialK' be.irnig
tile name Coral Stream (Shaniiuchuan) is located near Ningxi.in. m
eastern Ciaiisu l-'ro\ance; however, it seems unlikeK that I5.ida Shanren
had this specific place in mind, .ind he simplv mav have been plavmg
with the name.

29 Poem 3; Lines 1-3 ,nv built around references to the famtius poet and
recluse Tao Qian (3(S3-427 c .E.), w in) once w rote a letter to his sons m
wliich the follow ing passage appears: "(,~)fteii in the fifth and sixth months
i ki\' beiKMth the northern window, and when a cool breeze suddenly
came, i would think myselt a iiuin ot the remote times ot Emperor Fuxi,"
translation adapted from A. R. DaMs, Tiio\'udii-iiniio. a.d. 3(-i5-427: His
Wlvks iindThcir Meaning. 2 \ols. (Cainlindge: Cambridge Universit\'
Press. l''S3), 1:229. Follow ing line 3 ot the poem, Bada Sh.inren added his
ow n brief note in small characters explicitlv identifving the primordial
rulei- Fuxi as the subject, and le.iding back to Tao Qian's passage above.

it IS unclear how line 4 tits with the rest of the poem.

30 Poem 6. lines 3-4: Hekou (l^,i\er Mouth) is the name of a town in
northern Yanshaii county, jiangxi I'roxance, where two smaller streams
flow into the Xinjiang Ri\ er. Hukou (Lake Mouth) is the name of a
countv located on the Yangzi Ri\er in northern jiangxi Province.

31 Poem 7. lines l-2:"Up on Phoenix PjilT" and "Leaves of l-'urest
Cold" are apparentlv the titles of unknown stings or tunes, and may
refer to the story ot the musician Xiao Slii (mid-7th century B.t'.E.)
and Longviuthe daughter of Duke Mu of Qm (reigned 6.39-21 B.t .£.).
Xiao Shi excelled .it pl,i\ ing the flute (or panpipes) and Longvii tell in
love with ,ind married him. Fie taught her how to make the sound ot a
phoenix call on the pipes, and when she had practiced fc^r several years,
phoenixes began to come to her windowsill. Accordingly, the duke
built the Phoenix Terr.ice for the cotiplc, where they lived. One morn-
ing, husb.md ,ind w ife flew away on ,i phoenix into the realm ot the
immort.ils ,iiid were never seen again.

32 Poem S, line 2:This line perhaps refers to one ot Bada Shanren's stu-
dio names, the Mount, un Lodge .iniid the Lotus, which he used both as
a seal and as part ot his sign.iture.

Line 4:W,inslian (Shining F4ills). is located north of the Yangzi River
near the town ot Qianshan. in Anhtii Province. The tirst part ot the
place name (Wan), is sometimes used alone as a general reference to
Anhui.so the compound here might simplv mean: "the hills ot Anhiii."

B.ida Shanren .ilsci wrote this poem as an independent hanging
scroll on at least one occasicin; see W.ing Zhaow'en, ed., Bada Sliiiiiicii
qiidiiji, 3:(i2iS (cat, no. P'b).

33 Wang Fangvu has dated the lea\'es on w Inch these poems appear to
c.i. I()''3, three vears prior to B.ida Shanren's creation o\ the other six
leax es 111 the album. Bada wa-ote out the eight quatrains on these leaves
tor his friend Baoyai (Wu Cheiivan.see note 22 .ibove),but did not
compose the poems tor him, ,is the\ cle.irh- pred.ite the creation of the
allium and were wa"itten to accomp,in\' paintings that .ire not included.
For prex'ious translations of the poems, see Wang and Barnhart. Mnstci of
ilic Lotus Giiidcii, 139-4(1 (cat. 30. fig. 75). with translations of poems 2
and S; page I 15. wath translation of poem 1; .ind page 224. with transla-
tions of poems 3 to 7. For transcriptions and further comments, see
Wang Fangvu. Biida sliiiiiivii lasliii ji, 1:41. Texts of the eight poems are
also published in Wang Zidoii. comp.. Badd Slhvin'ii sliiclnio, 39 — 40.

The place name Hu.mgzhuvuan (Yellow Bamboo Garden) appears
in seals used bv Bada Shanren from IdSd to 1690 and ca. 1692 to 1698.
,ind first .ippears as part ot his sign.iture in UnS'). It is unclear it Bada
tised the phr.ise simpK' as an altern.ite name, or if it also referred to an
actual physical location, such as a studm or residence. For discussicin and
examples ot "L^uangzhuviian " m seals and signatures, see Wang and
Barnhart, ALista ofilic Lotus Ciidcii. 104, 140, 24S (no. 63), 249 (no. 79),
and 103 (fig. 5 I, leaf c). On the significance ot "vellow bamboo," see
note 26.

34 The calligrapher and painter Wu Changshuo (1844— 1927), whose
given name was Junc]ing, was considerably influenced by Bada Shanren,
and his inscriptions appear on a number ot Bada's surviving works. For
other inscriptions bv Wu C^hangshuo on Bada Shanren's paintings, see
catalogue entry 9 m this \-oluine; and Wang Zhaowen, ed, Bndii Sliniiicii
qiiiiiiji, 2:404 (cat. no. ''5; hanging scroll, inscription dated 1924), and

3:482 (cat. no. 131; hanging scroll, inscription dated 1895). On Bada
Shanren and Wu Cdiangshuo, see Wang Fangyu,"Bada Shanren dui Wu
Changsliuo de \ ingxiang"" (Bada Shanren s mtliience on Wii
Changshuo), m Bditii Sliiiiiicii hiuji, ed.Wang Fang\'ii, 1:423-30.

The erroneous assertu^ns that Bada Shanren's "given name was
Da anil his coiirtes\' name Xuege" and that he was a "grandson ot
the Prnice ot Shichengtn" are based on statements m Zhang Geng's
(1685- I7(i()) biography ot Bada Shanren. For the full Cdimese text
ot this biography, see Zhang Geng, Ciiochiio liiiii:licii(ilii (Records on
painters ot the Qiiig dynasty, preface 1739), in Zlioii\ioiio ^Inilnta qiuuislui
(Complete writings on Cdiinese calligr.ipln and painting), comp.
Lii Fiisheng et al.. 14 \o\\. (Shanghai: Shanghai slniluia chnbanshe,
1992-')')), 1(1:425; or Wang Fangyn,ed., Bada Sli.iiiicii liiiiji, 1:533.
For a bnet discussion ot the commonly reiterated errors in that text,
see W.mg and Barnhart, .\Li^ici of ilic I.oiiis G.j/i/c//, 24. On Zhang
Geng, see also catalogue entr\ 24 (Ye Dehui colophon).

The origin ot the phrase, "Heartbreak has its hidden reasons," is
not recorded.

The identity ot Wenqing, former owner ot this album and Wu
Changshuo's tellow "art lover" (yoiidio). is not kncwn. However, since
Wenqing is also named ,is the recipient ot Shanqi's 1')I7 frontispiece
(see leaf I and note 15 above), it is clear that he c^wned the album tor
at least the ten \-ears between l'-K)7. w hen Wu Ch.mgshuo w rote this
colophon, ,ind l''17.

The indix idiial named bv Wu Changshuo as his teacher Yang Xian
(181'-) — IS'Xi) sobriL^uet Miaoweng, largely pursued a lite devoted to
poetr\' and other scholarlv pastimes. As a calligrapher, Yang exerteci a
consider.ible mtluence on ,i number ot \iHinger contemporaries, m par-
ticular Wu Cdiangshuo, w nil w hom he maintained a close relationship.
The small Bada hanging scroll that inspired Yang Xian has not been
located; howe\'er,Wu Changshuo composed his ow n wiriant on the
same quatrain ot poetrv w Inch he inscribed on a ditterent Bacia hang-
ing scroll 111 the spring ot l')24; see Wang Zhaowen, ed., Baila Sluiiiicii
qiidiiji, 2:404 (cat. no. ^)5). For another inscription by Yang Xian on a
painting by Bada Shanren, see Wang and Barnhart, Mdsici of the Lef//.^
Giiitlcii. 152 (cat. no. 3(i, tig. 87; album leaf, ca. 1694).

Du Fu (712-770) composed the tamous poem,"Ai wangsun" (Alas,
a prince!), in the autumn ot 756 during the dark davs ot the An Lushan
rebellion, wdiich marked the end ot a golden age ot the Tang dynasty
(618-907). In the ruined c.ipital ot Ch.ing'au (modern Xfan, Shaanxi
Province), Du Fu came .icross a miserable imperial prince huddled by
the wayside, scratched and bruised from brambles and dresseci m rags.
Though recognizing that "]ust now royalty is humbled and monstrositv
rampant," he reminded the voung man that where there is lite, there is
hope. Translation quoted from Willi. im I lung (HongYe), //( Fii: Cliiihi's
Grcalcsl Pod, 2 vols. (Cambridge: Harvard University Press, 1952),
1:101 -02. For the Cdiinese text, see Flong Ye (William Hung), coiiip.,
Diislii yiiiilc, 2:43-44 (no. 21).

35 The highly regarded |apanese calligrapher and sinologist Naito
Torajiro (1866-1934) wrote this colophon in 1930 at the request of the

Kyoto collector Hayashi Heizo (20th century; studio name, Utsudo).
who then owned the album. Hayashi affixeci his own collector seal on
the last leat ot the album tollowing Naito's colophon and, judging from
the seal ot the Kosaido mounting studio (in Kyoto) atfixed mside the
trout co\er, he may ,ilso have been responsible tor the current mount-
ing ot the album. Ov the lite and career of Naito Torajiro, see note 14.
On his c.ilhgrapln, see the series of articles ,ind plates in: Slioioii 13- 17
(Autumn 1978- Autumn 1980), inclusive.

In his colophon, Naito Torajiro quoted two passages from the clos-
ing section of the biographical notice on Bada Shanren written by the
poet and essayist Shao Cdiangheng (1637- 1704), whose sobriquet was
Qingmen. Shao \ isited Nanchang in l()8S to 16,S9, w here he arranged
to meet H.ida Shanren through a mutual acquaint.ince, ,ind subse-
quently wrote a higliK personal biographical notice describing the
e\ent, w hich he included m his Qiiioiiuii Iw^tW (Notes on in\- tra\'els).
For the complete Chinese text ot Shao's biographical notice, see Wang
Fangs'u, ed., Bcuhi SIhiiiicii liiiiji. 1:527—28. For previous translations ot
the section ot text quoted by Naito Torajiro, see Wen C. Fong, "Stages
in the Lite and Art ot Cliii Ta," 12; and Wang md Barnhart, Master of the
Lot\i^ ( iiiiileii. 19. For more on Shao's visit to Bada and other partial
translations ot the biograpln' he wrote, see Wang and Barnhart, .Uii.^/c/'
of the Loms dirden, 18, 24, 35, 41, and 60-61.

The three iiidi\ iduals mentioned in the quotation troiii Shao
Changheiig's ess.iv — Fang Feng (1240- 1321), Xie Ao (1249-1295),
and Wu Siqi (1238- 130 1) — were a trio ot poets and scholars who
refused to serve the alien Yuan dynasty (1279-1368) atter the tall ot
the Song in 1279 and took to wandering the cc^untr\ side ot eastern
Zhe]iaiig Prm ince together. Particularh' grie\ ed b\' the capture and
execution ot the great Song patrun and iiiilitar\' comm.inder Wen
Tianxiang (1236— 1283), the three companions climbed the Western
Terrace of Yanlmg (Yanling .Xitai, m Zhejiang Province) in 1287 and
performed a ceremony calling his soul to return and "wailing m
anguish" (toiii^kii). On Fang Feng, Wu Siqi, and Xie Ao, see Chang
Bide et al., comps., Soin^ivii cliuaiiqi ziliao siioyiii (Index to biographical
materials on Song dynasty figures), 6 vols. (Taipei: Dingwen shu]u,
1973), l:6l-(.2, 2:1 158-59, and 5:4111.

ENTRY 9. Lotus and Diiehi

36 For a discussion of this painting, see Wang and Barnhart, Mastei of the
Loiii.s (jiinleii. 170-71 (cat. no. 47, fig. 100). For examples of nine conipo-
sitionally related paintings dating from c.i. 1690-92 to 1705, see the fol-
lowing works discussed and/or lUustnited in the same volume: "Lotus and
Duck" (ca. 1690-92), 124-25 (cat. no. 20, tig. 63);"Lotus and Birds" (ca.
1692-94), 137-38 (cat. no. 28, fig, 73);"Lotus, Birds, .md Rocks" (1694),
146-48 (cat. no. 33, fig. 81);"Lotus and Peony" (1694), 265 (Appendix C,
no. 80);"Lotus and Rock" (1694), 266 (Appendix C, no. 81);"Lotus and
Rock"(ca. U.94-95), 156-57 (cat. no. 38, tig. 90); "Lotus and Ducks"
(1696), 267 (Appendix c:, no. 91);"Lotus and Duck" (1696), 268
(Appendix C, no. 100); and "Lotus" ( 1705), 2 15- 17 (cat. no. 72, tig. 130).
Gao Yoiig (1850- 1921), a previous iiwner, first published this paint-

ing prior to the time Wu Changshuo added his inscription in the
spring of 1926; see photogmph in Wang Fang\'u. ed.. Biuia Sliiiiiicii liiiiji,
2:l')2,plate 3S. 2. taken from an iinspeeitied vokinie ot GaoYong,
Idislidii C^iiiisliiloii I'iiiioliihi (I'anitings m the collection ot the Broken
StoneTower ot Taishan) (Shanghai: Xiling \'inshe. l'^2d-2'*).The cnr-
lent painting \\ ith Wu Changsliiio's insci iption was tirst published m
Zhang Daqian, Dii/(7/i,'/ii//t,' iiii)iojl. vol. 3, pl.ite 4.

37 Lines 4 — (nThe name translated here as "Sno\\\- l)onke\ "is actiiallv
made up ot two names Uada Shanreii used w hile still a Buddhist monk:
Xuege (Snowy One) and Lti (L^onkey), the latter being a derogatory
slang term tor a monk. Bada Sli.mren was a inembei- ot the Ming
dynasty imperial clan, surnamed Zhu.

Lines 14-15: Line 14 contains typical images ot the world upside
down, tull ot prodigies and ill-timeiied occurrences. Line 1.3 alludes to
the Uaoist philosopher Zhuang Zhou (Zhuangzi, ca. 3()'*-ca. 2S6 li.C.E.),
who once dreamt he was a buttertly, but on waking ct)uld not deter-
mine it he had been Zhuangzi dreaming ot a buttertly, or was now the
buttertlv dreanimg he was Zhu.nigzi. See C'.uo C)mgten (IS44- 1S')()),
comp.. /Jiudii^zi jislii (CA)llected comment. naes on the /Jiudiiozi). 4 vols.
(Beijmg: Zhongliua shu|u, reprint l''7<S), 1:1 12; and Burton

Watson, trans., Tlic (\vnplcic lloik:^ of (^lniiiiioT:ii (New York: Columbia
Uniyersity Press, I'JdS), 4''.

This titteen-line poem b\' Wu C'liangshuo was pre\ iousl\ translated
m Wang and Bariiliart, .\Li<k'i c/ flic LiV//.^ (uiidcii. 171. For more iiitor-
mation on Wu Cdiangshuo ,ind Ins othei' inscriptions on p.nntmgs by
Bada Shanren, see note 34.

ENTRY 10. IWlll by Hdll Ytl

38 In Sill, the Tang poet and prose stxlist ILiii Yu (7(sS-S24) composed
the "Preface to Seeing C~)ft LiYuan on His Return to Winding Valley."
Judging troni the longer prose section ot the pretace, Li Yuan, the indi-
vidual tor w hom Han Yu wrote the work, w as a well-regarded scholar
ot strcmg Contucian wilues, who retired th.it same year tiom public lite
in the capital to a Buddhist temple ni Winding Valley (Pangu), which is
located ill the southern toothilK ot theTnhang Mountains about ten to
twelve kilometers north ot the tow n ot h^■l''lll- Henan Province. The
pretace concludes w ith, or introduces, a poem wa'itten m ,i unique
combination ot ancient metrical tonus, which is the text that Bada
Shanren recorded here.

39 In his one-line introduction to Han Yu"s poem, Bada Shanren refers
to Li Yuan as coming from Sh.ninan (south ot the mountains), which m
the Tang dynasty was part ot the n.inie tc^r two provmces, east and west
respectively. Since Li Yuan had no know n connection with either
province of Shannan, Bada probably employed the term simply as an
informal reference to Winding Valley, which is located ioiilli of the
Taihang Mount.nns. Note that Bada used "Sh.ninan"' in three of the
tour other known versions he created of this text (see note 41)), while
m the fourth version (album leaf m the Asian Art Museum, San

Francisco), he reversed the constituents to read "Nanshan" (South
Mountain), a common place name that does not pertain to Li Yuan m
any ascertainable way.

40 In addition to the current album leaf, Bada Shanren wrote out the
text of H.ni Yu's poem on at least toin- other occasions, all prob.ibly dur-
ing the period Id'-^ti to UiMS: Leaf ci, m a mi.xed .ilbuni ot si.xtecn leaves
of painting and calligraphy ciated spring 1698,111 the Asian Art
Museum, San Francisco; an undated album leaf , m the Tang Yun Ai t
Museum, Hangzhou; an und.ited hanging scroll, m the Tokyo National
Museum; .nid a second undated hanging scroll, in the Shanghai
Museum ot Art. Bad.i used exactly the same poem text tor all five ver-
sions, which consistentK' differs from stand, ird printed recensions ot
Han Yu's famous pretace in several p.irticulars. See, for example: Wei
ZhcTiigiu (late l2th-earK- 13th centiir\'), comp., Wnhaijia :lni (^lhiii<^li
ii'ciiji (Five hmidred commentators on the w"orks ot Han Yu, preface
1200), I9:22a-23a,esp. l>);24a-b, m ]]'SKQS, disc 1 IS; and Gao
Buying, comp. and annotator, Jiiii(i Soin; wen jiiyao (Essential prose ot
the Tang and Song dynasties), 3 \ols. (Hong Kong: Zhongliua shu]u,
l''S5), 1 :232-3'-', esp. 237-3S. For two recent transl.itions of Han Yti's
complete pretace, see Yu-shih Chen, htia'^c:- and Idea} in CLu^kal Chinese
Prose (Stanford: Stanford Um\-ersit\' Press. l')SS), 24-23; and Stephen
Cwen, ed. and trans.. An Aniliolooy ol CJIiinese Lileiatwe: Be^iinninyis to
I'Ul (New York: W. W. Norton cS. Co., 1996), 607-^).

1 he current leaf originalK' belonged to a nme-leaf c,illigrapli\'
album. se\en other lea\'es from w Inch are in the Freer collection: see
catalogue entries 1 1 (two leax'es), 13, 14. 13, Id, and 31. For .i list of the
contents ot the original .ilbum. see Wang and Barnliart, Miisiei of the
Lotns Garden. 269 (Appendix C, no. 106).

41 In Ills postscript, Bad.i Shanren contuses H.in Yu's hermit ti iend
with another indnadual be.n'iiig the same name. This second Li Yuan
(died S25) was the son ot the Tang general Li Sheiig (727-793), whose
courtesy name f:i) was Liaiigqi. Li Sheng joined the army as a young
man and m 746 to 747 accompanied W.ing Zhongsi (705-74*-)) on a
campaign in eastern Central Asia, nuring the Chinese attack on an
unnamed citv:"a brave |enemv| general mounted the wall and resisted
vigorously, wounding quite a number of Chinese soldiers. Wang Zhongsi
sent out a cill to his troops that ainone w-iio could shoot him |with an
arrow] should do so. Li Sheng then drew his bow and slew the man
with a single shot, whereupon the whole armv sent up a great slmut.
Greatly appreciative, Zhongsi patted Li Sheng on the back and said:
'This jniiinl is a iiidhli foi ten llioustind /I'c.s ' |translator's italics] ." See Liu
Xu et al., comps., jiii Tdiit; sliii (Old liistor\' ot the Tang clynasty,
6l.S-9()7) (Beijing: Zhonghua shuju, l')75), I33:36hl.

Due largely to Ins nnlit.u'v prowess, Li Sheng e\-entually rose to high
office and was rew arded w itli the hereditary title, Prince of Xipmg (in
Gansu ProMuce), an appan.ige of 1,300 households located near the
.iiicestral home ot the Li tainih. Li Yuan was heir to this title and also
rose to high niilit.iry and civil office. Bada e\ idently felt that Li Yuaii's
inherited priiiceh' rank explained Han Yu's use ot the word

(p^ilacc) in the opening line ot liis poem; however, this is too narrow
an mterpietation ot the word, w hich nia\' also be applied to ,i Buddhist
temple, \ov example. There is no indication that Li Yii.in. the prince,
e\'er retired to the lite ot a recluse or had aii\' connection with WindiiiL;
Valle\' 111 1 ienan Frox ince. For his otticial biographies, see Liu .\u et al.,
conips., //// Ihiio sliii. l,i3:3676-77; and Ouyang Xiu et al., comps., ,\7//
Tdii\; sliii (New history ot theTang dynasty, (-)IS-9()7) (Beijing:
ZhonghiKi shiijii. l')7.S). l.i4:4S74-7,S.

Bada Shanren used ,in muisnal tormula to record the Near ot this
work (U)y7); tor explication, see Wang Fangvii, Bailn Slidiiicii ji.
\:(>5. For another occurrence ot the s,ime tormula, see W.mg Zh.iowen.
ed., Biui,t Slhiiiicii qiidiiji. 2:45,S (.ilbum leat; sprig ot chrysanthemum).

ENTRY 11. Pocni by Zciio Coiiq

42 Zeng Ciong (H)!')— 1083), alscT known as Zigu, was a scholar-otticial
trom Nanteng in |iangxi Pro\ nice. He w as liigliK- regaidei.1 as a prose
writer, but his poetr\' is gener.ilK less well know n. As w ith m,ni\' ot the
texts Bada Shanren copied, his primar\' point ot interest in the current
poem was appareutK the topic ot l.indsc.ipe p. iinting. Van, ints often
■ippear m Zeng Gong's preser\ ed w ritings; howex'er, B.ida Shanren's
version ot his poem contains signiticmt discrepancies be\'ond tliose
found 111 st.uidard printed sources. 1 he first three lines in particular differ
radical]\' from the staiul.ird text and, more importantlw w hile Zeng
Gong's original poem consists ot sixty lines, Bad.i Shanren's wrsion
contains cmK titt\ -foui' lines, completeK' omitting lines 47—311, as well
as ten ch.u-.icters from lines 3S-(ill, thus compressing the final three
lines into one. These and other discrepancies in Bada's version of the
text ccinsider.ihh' .liter the meaning and flow of Zeng Gong's poem.
Two char.icters are also missing due to dam.ige, but can be supplied
from publislied versions of the text. For two published versions of the
text, see; Zeng Gong, ) 'iiiiiitciio Icii^iio (Collected works of Zeng Grong),
coinp.Cheii Sliidao ( K )33- I 102), 4:4b-3b, in ]]'SK(JS. disc 121;and
Chen Baiigyan (Ui()3- I(i47), conip., Li(hii iiliii<islii Ici (I'oenis on p.iint-
ings through the ages, b\- category), 22: ILi- 1 2. i. in 11 '.SK.'Q.S', disc 137.

The follow ing is a brief cautline ot the poem s contents: Fine silk
trom Wu w'as cut to tit the frame of a tolding screen and the best cr.ifts-
men were sought to paint a \ast landscape across it. Looking at the pic-
ture slowly and taking in .ill the det.iils, the poet describes a boundless
expanse of mountains. A great massif occupies the center surroniKled
by a host of lesser peaks. Might\ and perilous, it bestrides the land ,ind
reaches the stars. From high mount, iin springs, w, iter gathers into tor-
rents and rushes down between the cliffs, gr.idually slow ing .is it gets far-
ther and farther awav. Looking into the dist.ince, "there is no end or
limit to how far one can gci " (line 2*-^). The tr.ixeler h.ilts his hcirse to
look around, then st,iys to en)oy the pristine w ilderness, iii.irveling .it the
fauna and flor.i and the beatitv of the n.itur.il scene. E\er\ thing in the
painting is so fresh and bright, perfect m ewry detail, th.it a supern.itural
being must h.ive had a h.ind in completing it. Looking at the screen
p.iintmg as he goes to bed brings the poet pleas.int dre.inis. Lie iv.ili/es
that he h.is no t.ilent for the times ,ind w ishes to escape the pitfalls of the

world. Since his oblig.itions are light, he w ill follow his heart and finti
some remote spot w here he can sur\ i\ e b\' farming and tishmg.

These two leaxes originally belonged to a nine-leaf e.illigraphv
.ilbum (dated I )ecember Ui'^'7),six other leax'cs from which .ire in the
Freer collection: see catalogue entries 10, 13. 14, 13, Id, and 31. For ,i list
ot the contents of the original album, see Wang and Barnhart, Masici of
the Lotus (uinlcii. 2(-<'> (Appendix C. no. 106).

43 Damage to the calligr.iph\- in three locitions makes it difficult to
understand the full thrust of this comment. The two characters follow-
ing the sum, line Zeng prob.ibK coiit,iined either Zeng Gong's courtesy
n.ime (Zigu),or the name of his home district (Nanteng). The phrase
"how tar one can go" evidently refers to line 2'' ot the p>oeni,
tiMiisLited abo\'e.

ENTRY 12. Alluiiii iiftvr Doito Qiiltniio's
"Copies of Ancient Lainhcdpc l\iiiirino<"

44 rhe SIX paintings in this album are careful copies (e\'en down to the
inscriptions .md sign.itiiies) of works b\ the important Ming .irtist Dong
C,)ichang (1333- I(i3(>), who m turn was either copying or working in
the style of e.irlier artists belonging to the Souriiern School of laiieiscape
painting. Hue to their common surname, Dong Qichang claimed a fani-
il\' relationship w ith Dong Yuan (died y()2),w lnMii he considered to be
the founder of the Southern School. On the important laiidscap>e
p.iinter Dong Yuan and other works b\' BacTt Shanren in his st\ le, see
cat.ilogue entr\' 7, note 12;,ind cat.ilogue entr\ S, leax'es 2-3.

Dong Qichang exerted a profound influence on Bad.i Sh.inren both
as .1 st\ list ,ind theorist. See discussions of this .ilbum and Dong's influ-
ence in Wang ,ind Barnh.irt. Miistci ol llic Loliis i '.aidvn, I7S-(S| (cat. no.
33, tig. lOfi); Zhang Zining ( |oseph CTiang), "Bada Shanren shanshuihiia
de \an]iu" (Researches on the landscipe painting ot Bad.i Shanren),
Ciii'oiio iiriiii'ii yiici;iiii (National Palace Museum MontliK') '>7 (April
l')'M): S,S- I 13, esp. 103- II Land Zhang Zining (Joseph C:hang),"Bada
Shanren zhi sh.iushuilui.i chutan " (I'relimmary discussion ot B.ida
Sh.inren's l.indscape painting), Dz/O)'///) (.Art C'loiids QuarterK ) 13 (Octo-
ber L)S7): 143-4'-), esp. l48-49.This .ilbum was first published m slightly
different order in Zhang D.iqian, Ddtciiotdiio niiiioii. vol. 3, plates 14- 19.

43 I lu.mg Gongwang (I2(i9- 1334) was one of the most important
Yu.in d\nast\- followers ot the landscipe painter Dong Yu. in. Lluang
exerted .i m.i|or influence on I3ong Qichang, .ind thnmgh him, I5ada
Sh.inren. Fiu.ing's painting titled I'lio l iiyiiin:; Moiiiiloiii Riiih^ic is other-
wise unknow n. Lor another work b\ B.ida Sh.inren in the st\ le ot
L4u,ing Gongw .ing, see Wang Zhaoweii, ed., Biulo slidiiicii qiuiuji.
2:43S-39 (cat.no. 119).

46 /// tliv SIhulv ol Siniiiiin lives is the title ot ,i f.imoiis h.iiiging-scroll
painting by Dong Qich.iiig, w ho in turn attributed the origin.il com-
position to DongYu.m. Doug Qich.ing's ext.iiit p.iintmg b\ this title
be, lis little resemblance to the current .ilbum leat in composition; see

Ciiooin; <lmliii,i tiiiiiii (Photo-catalogue of Chinese painting and calhgra-
ph\' in the N.itional Palace Museum, Taipei) (Taipei: Gugong
bowuvuan. I'Jyi). S:232.

47 Ni Zan (or Ni Yu, I3n()- 1374). noted tor Ins spare hriishwork and
stark landscape compositions, was an important Yuan dvnastv follower
ot Dong Yuan and a strong influence on both Dong Qich.ing and liada
Shanren. For another work bv Bada in NTs stvle, see catalogue entry 33
in this volume. The identity of Master Wang, who owned the Ni Zan
painting copied bv Dong Qich.ing, is unknown.

48 As noted .ibove, Ni Zan .nid Hn.ing Gong\\ang were two of the
most import, lilt Lindsc.ipe p.iinters ot the fourteenth century. In this
colophon. Zhang D.iqian ( P)S3), a previous owner ot tiie album,
congratulates himself for realizing the importance ot Dcing Qichangs
remterpretation ot their styles in establishing the primary model tor the
landscape painting ot B.id.i Sh.inren.

ENTRY 13, lixaipt from "Prcfthc to the Gnllwniio at the Rirct"

49 On the third da\' in the tliirtl kin.ir-moiith ot 353 ( .1 .. which
corresponded to April 22. the t.iiiious calligrapher Wang Xizhi

(ca. 3()3-ca. 3()l i .1 .). .ilong w ith forty friends and family members
ot various r.inks .iiid ages, trawled some ten kilometers from the tow n
ot Kuaiji (modern Shaoxmg, Zhejiang l-'ro\ ince) to the picturesque
Orchid Pavilion (Laiitiiig). .i priwite retre.it that Wang h.id built in .i
ne.irbv mountain willev Here the\' celebr.ited an .incient springtime
purification ceremom' that h.iil tr.iiisformed over the centuries into
a secular holiday, when people would g.ither ne.ir ,i bod\' of w.iter to
enjoy the scenery, e, it .iiid tiriiik together. ,md compose poetry. At the
Orchid i'avilion. a channel h.id been dug and water tVom the local
river diverted to torm a small meandering stream, along which the
participants sat m order of senioritv, CTips were flo.ited down the
WMter course, and each member ot the group h.id to compose ,i poem
when a cup .irriveil .it his location, or pay the pen.iltv of drinking
three dippers of w ine. At the end ot the da\'. thirty-se\'en poems were
collected and W.mg ,\izhi composed a preface to record the circum-
stances ot the occasK>ii.Two versions ot Ins preface exist: a ubiquitous
324-character version known as the Ldiiliii(i xii (Preface to the
Ciathei nig .it the Orchid P.iN ilion). which is recorded m the /;// ^liii
(HistoiA' of the ]m d\n.ist\) and pla\"s ,iii import, mt role in the c.illi-
graphic tr.idition: ,ind .i more obscure 1 34-char.icter \ersion known
as the Liiihcji .\u (Pret.ice to the (iathenng ,it the Kiver), which is the
text Uad.i Shanren excerpted here (see tollowing note). For the text ot
the Liiiiliiio Ml. see Fang Xuaiiliiig et al., comps.. jiii ^Ini. ,S():2()y. For
two recent English translations, see: l^ichard E. Stnissburg, IiiMiihcil
LdiulscdjH''' : lidrfl W'riliiK^ lioiii liiijhiidl Cliiiiti (Berkele\ : Unnersitv oi
Calitorni.i Press. fi5-()'); .iiid Stephen Owen. ed. and trans. ..4//

Aiiiliolooy oj CliiiiCiC Liicujiiiir. 2S3-S4. For an English suiiiin,ir\' of the
early calligr.iphu tr.idition surrounding this text, see L iith.ir Ledtierose,
Mi I'll lUid ilic G7i(.yMu(/ 7ii((/(7/(i;/ c/ Cliiiic.^c CaUioiapliy, P^-24.

50 The Ijiilicji Ml (Preface to the (withering at the River) is preserved
111 an .mnot.ition by Liu [un (4(i2-32l t ,C,) to a passage concerning
Wang Xizhi m the Slii^lnio xinyii (New- account of tales of the world),
a collection of .ineetlotes compiled under the aegis ot Liu Yiqiiig, the
Prince ot Linchuan (403-444 t .E.). Bada's exclusive preference tor this
text w.is a radic.il departure from the prevailing orthodoxy m schol.ir-
ship ,ind the arts. Unlike .my cilligrapher before or since. B.ida Shanren
chose to Ignore the //// sini version ot the preface th.it appe.ired in
countless ,iv,iikible rubbings, ,ind inste.id used the Slii.'^liiio xiiiyii text as
the sole basis for all his calligr.iphic interpret. itions of the Wang Xizhi
pretace. Between l(i''3 and 17011, Bad.i produced at least twelve dated
and iind.ited \'ersions ot tlu' Slnshiio xiiiyii text using v.irious form.its —
h.iiigmg scroll, single .ilbuiii le. if, multiple album leaves, and folding
tan — in. ikmg the " Pretace to the Cuithenng at the River" both the
most t omnionly qucited text in B.id.fs entire ext.int corpus and the sin-
gle text with which he conducted the most wkIcK' wined calligr.iphic
experiments. Rather than imit.itmg the calligraphy of Wang Xizhi,
howe\'er. B.ida Shanren telt tree to use his ow n reconstruction cit
tourth-centurv rniining-st.ind.ird script to w rite the text ot this leaf.
Moreover, in tr.inscribiiig the text. B.id.i Shanren consistently eniplo\'ed
sever.il wiriant re.idmgs tli.it do not appe.ir in the st.md.ird printed
edition ot the Slii.^lnio .v/;;)'/i. Among the twcK'e known ex.imples of
the pret.ice written b\' L5.id.i. none quotes the entire p.issage of Liu jun's
note to tlie Sliisliiio .vi;;)'i/. While tour wrsions produced between ]h''3
and spring U)'^'7 quote excerpts ot ditterent lengths from the te.xt, the
Freer le, it, which cm be dated to November l(/'7. .ippears to be the
e.irliest example ot ,i fixed lOO-cli.ir.icter excerpt th.it Bada Shanren
used m all eight later renditions. For the full text of the Llin^licii mi
.iiid ,1 recent English transl.itioii. see 1 lu Yiqing. comp.. .S///,s////(i xiiiyii.
I():l()3, 111 Zliiiii jitlu'iio (C "ompendium ot works hx f.imous in.isters)
(Bei]ing: Zhonghua shuju, 1^34: P'Sd edition), vol, S; and Richard B,
Mather, trans.. Sliili-.^lnio I hin-yii: A Ncir Aiioiiiii e/ Tiikw of the W'oilii,
comp. Liu l-ch'mg (Minneapolis: Uiiiversit\' of Mmnesot.i Press, I97(i),
321-22 (anecdote lh/3). For fuither discussion oi Badas different ren-
ditions of the text, see Wing Fangyu, ""Bada Shanren de shufa" (The
c.illigrapliy of Bada Sh.inren), m liiiLi Slhuiicn liiiiii, ed.W.ing Fangyu,
1 :3.SS-'M : Wang F.ingvii, "Bada Shanren de shut. i," m Wang Fangyu.
liiuLi Sliiiiiii'ii litshii ji, 2:64 — and Bai Qi.inshen, "Cong Bada Shanren
liii 'I .lilting xu' km Mmgmo Qingcliu shuf.i zhong de hnshu gu.miii.in"
(B.id.i Sli.iiireii's copies ot the Lniiriiio mi and the l.ite-Mmg to early-
Qing concept i4 tree copying), in Liiiiliin; liiiiji (Collection of essays
on the Orchid Pavilion), ed, Hua Rende and Bai Qianshen (Siizhou:
Siizhoii daxue chubanshe, 2000), 462-72.

I his work originalK' belonged to a nine-leaf calligrapin .ilbuiii
(two leaves dated December 1 6'-)7), seven other le.ives ot w hich ,ire in
the Freer collection: see entries jO, I I (two lea\'es). 14. 15. 16, and 31.
For the contents cit the original .ilbum. see Wang and Barnhart, Mihsicr
of the Lotus Gdnieii. 2()') (Appendix C, no, 106).

ENTRY 14. Poem by Zlhiii(^ fiiiliin^

51 riiis tuviitN -tour line poem, titled '"Inscribed on .1 Landscape Folding
Screen," \\ as composed b\ ZliaiiL; lulling (678-741 1), an important Tang
dynast\- scliolar-otFicial and poet. B.ida Shanreiis text of the poem differs
troiii all printed \ersions tliat appear 111 standard anthologies. For exam-
ple. It contains ,1 t\\o-charactei- interpolation in line I I that is clearlv out
ot place and changes the line troni five to seven characters, and sewral
one-character variants that altei the meaning of the lines in w hich tlie\-
occur; four ot these \ariants do not appear m an\ standard source. For .1
standard text ot the poem .ind ,1 modern conmientary, see: Peng Dingqiu
(lh45- I7iy) et al., comps., (Jiiiin liiini ilii (Complete Tang poems. 17(15)
(Beijing: Zhonghua shuju, I'WiO: l''S5 edition), 417:577-78; and Kong
Shoushaii, ed., liiiiiiiluio tiliiid^hi (Annotated Tang d\'iiastv poems on
paintings) (Cdiengdii edition: Sichuan meishu cluih.iushe, 1988), 52-54.

The current leat originally belonged to a nine-le.if calligrapln' .ilbuni
(two leaw's dated December l()''7), sex'en other leax'es from which are in
the Freer collection: see catalogue entries 10, 1 1 (two leaves), 13, 15, 16,
and 31. For the contents of the original album, see Wang and Barnhart,
Mn.^tci of ilic L()f/(.v Cnudvii. 2ti'> (Appendix C, no. HK)).

52 Lines 17- 18: These lines are directh" adapted troiii a passage in the
"Yangsheng luii" (Treatise on nurturing life), h\ the thii-d-ceiiturv writer
and philosopher .\i Kang (223-2()2 i .t.), who cnltUMted these plants 111
his garden. The p.issage reads: "C'oupled bliss soothes a\\a\' anger, da\'
lilies make one torget sorrciw" See .XiaoTong (5( 1 1 -53 1), coiiip., LniJicii
:lui Will (Liter.irv selections, with commentaries bv six Tang schol-
ars) (Taipei: Ckiaiigwen shuju, I''(i4; l''72 edition), 53:')76.

The day lily (Hciiiciocdlli^ is a common Chinese garden plant.

From earl\- tunes, it was popnl,irl\- know n by the name "torgetting
sorrow." For an image ot da\ lilies h\ Bada Shanren ,iiid more mtbrma-
non about the tr.iditioiial s\ nibolism of the plant, see c.it.ilogue entrv
26 and note 8().

The plant, translated literally here as "coupled bliss," is a kind of
mimosa (All>i-ziii jiilihrisscii). In Cdiinese tradition, it is considered an
auspicious tree that possesses the power to alle\ i.ite anger and bring
contentment to the heart.

Lines lV-22:The tirst two lines allude to a tanious passage attrib-
uted to the early Daoist philosopher Zhuang Zhou (ca. 369-ca. 28(i
13. C.E.), better known as Zhuaiigzi (Master Zhuang). The passage mav
be translated as follows: "The tisli trap exists because of the fish; once
you've gotten the fish, you can torget the trap. The rabbit snare exists
because ot the rabbit; once you've gotten the rabbit. \ou can torget the
snare. Words exist because ot ideas; once you've gotten the idea, you can
torget the words."Translatioii adapted trom Burton Watson, trans.. The
Complete lli'il'.s (1/ (JiiidiioTzii, 3(12. For the origin.il Chinese text, see
Guo Qmgten, comp., Zliiidii(;zi jislti. 4:944.

In the context ot this poem, Zhang |iuling uses Zhuangzi's "fish
trap" as a reference to the landscape painting he is \ iew ing; i.e., the
painting is simply a means to achieve the idea of wilderness. Zhang
then extends the quotation of Zhuangzi to lines 21-22, w hich con-
tinue to play on the relationship between "words" ,iiid "ideas." Once

one has gotten the idea of wilderness, the words and images that
express it can be forgotten.

53 The phrase "piled dirt to m.ike a mountain" appe.irs 111 the title of a
poem by Hu Fii (712-77(1), who once held an offici.il position m the
Ministry ot Works (ooiiohu). See Peng Dingqiu et ak, comps., Qium limo
.s//;, 224:2391-92.

The phr.ise".ill the mountains resound" appears in the biograph\ of
the famous earK landscape painter Zong Bing (375-443 i .1 .).The rel-
evant passage reads: "|Zong Liiiig] said with a sigh: "I am old and ailing; I
fear that I can no longer w'ander among famous mountains. Now I can
onl\- purit\- in\' he.irt b\' contempl.itiiig the Dao. and do ni\- roaming
trom m\- bed." All th.it he had \ isited he depicted 111 his ch.niiber. F^e
told someone:"! strum m\ qiti |/ither. lute] with such force because I
want ,;// lUc iiioiiiiituiis to ic.^oiiiiil |,uiiiotator's it,ilics|." '" tr.mslation
.id.ipted trom Alex.iiider C. Soper. liwuicil liriilciwc [01 the ScciiLir
Aiti of Cliiiid III the /V//('(/ //(');/ Lin Soiio thiomji ,S'///. Artibus Asiae
Supplementum 24 (Ascona. Sw itzerLind: Ambus Asi.ie Publishers,
|9(i7), 16. For the original Chinese text, see: Sheii Yue (441-513 C.E.),
comp., Soin; slm (F-listory of the Liu-Song d\ nast\'. 420-479 C.E.),
4 vols. (Beijmg: Zhonghua shuju, 1974), 93:2278-79; or Li Yanshou
(actiw (-)IS-(i7()) et .ik, comps., Niiii ^hi (F4istor\- of the Southern
Dynasties), 3 veils. (Beijing: Zhoiigliu.i sliu)u. 1975), 75:l8(il.

ENTRY 15. Poem by Sim Ti

54 I his sixteen-line poem, titled ""Kespecttullv harmonizing w ith the
I'ociii oil the LtiiiilHiipc Miiial 111 tlic Scuctcu idt h\ Ylinister of the Right
Li."' was composed sometime during the \-ears 742 to 744 b\' the Tang
d\'nast\' schokir-official and poet Sun I 1 (ca. 699-ca.7() I). Sun ser\'ed 111
the imperial secretariat from 730 to 744. primarilv under Li Lmtli (died
752), who IS best know 11 tor his titteen-year tenure, from 737 to 752, as
the extraordinarily pow erful chief minister of Emperor Xuanzong
(reigned 712-50). An imperial relatn e, Li was appointed to the prime
ministerial position. Director of the Secretariat (zhoii};>hii liii'^), on
January 2. 737; the title of this position was changed to Minister of the
Right (yoiixidin;) on March 31, 742; and he continued to hold the title
until his death on 1 )ecember 22, 732. Li Lintii's famiK' included a num-
ber ot famous .irtists. such as his uncle the painter Li Sixun (651-716),
and he himself also achieved a measure of renown tor his kindscape
painting. Judging from SunTi's text, Li Lmfu, whose ow n now Uist
poem e\'ideiitly served as a model tor Sun. was the artist of the mural
commemorated 111 this text. Bad.i Slianreii's transcription of SunTi's
poem differs from stand. ird published \'ersioiis ot the text 111 sex'eral
instances. For the st.iiid.ird text ,ind ,1 modern commeiitarw see IVng
Dingqiu c: .\\.. co]'!\ps.. (Jii<iii liiiio shi. I I S: I 195-90; .iiid Kong
Shoushan, ed.. liiiioihoo tihihulu :hii, 55-57. For a brief notice on Liii
Linfu as a painter, see William R. B. Acker, Sonic T\iii(; and Pic-T\iii(i
Texts on Chinese l\iiiitiiio. 3 vols. (Leiden: E.J. Brill, 1954), 2:243-44.

This poem on a l.iudsc.ipe p.iiiited b\ .1 member ot the impen.il clan
ma\ ha\ e held some speci.il .ippe.il tor B.id.i Shanren, since he is know n

to li.n c tr.insc ribcd it on at k-ast three other occasions: a large hanging
scroll (ca. Id'-'S). w hich is also in the collection ot the Freer Gallery ot
Art (see cat. entrv IS); an album leaf (dated 16'JS) written m the same
st\ le of running-standard script seen here, now in the Asian Art
Mtiseiim, San Francisco (see Wang and Barnhart. .\Li>tci ol llic Loms
Gdidcii. IS2): and a horizont.il hanging scroll written m running script
(undated, but ca. I ft'-)?- 'W), in the Anhui Pro\ incial Museum (see Wang
Zhaowen. ed.. .s7m///(7/ i/(/i(///i, 2:4d2-()3 |c.it,no. 12 1 1),

The current leaf ongmalK' belonged to a nme-leat calligraphy
album, seven other leaves from which are m the Freer collection; see
catalogtie entries 10, II (two lea\'es), 13, 14, Id, ,ind 31. For a full list ot
that album's contents, see Wang and Barnh.irt. Mattel of llic Lonis
Gdidcii, 2M (Appendix C, no. 106).

55 Lines I -2:Translafed here as "the h.ilK of court," the first two char-
.icters ot the poem, iiii<iohiii>^. are an abbrex'uition tor two p.il.ice build-
ings dedicated to the \ ener.ition ot the imperial ancestors. While in this
instance the term m,i\' be a subtle reterence to Li Lintu s st.itus as a
member ot the l.mg imperial cl.in.in practical tis.ige the term simph'
serves as a general designation tor the court. In line 2. the term .^/;,(/).^/^;//
(hills and streams, or landscape) reters not only to actual terrain, but also
to paintings ot landscape.

Lines ,1 — (i;The place name Nine Ki\'ers (|iu]iang) reters to a stretch
ot theYangzi River near the modern town ot the same name m |iangxi
Province, while the Three Gorges (Sanxia) are located higher along the
Yangzi River as it passes trom Sichuan into Huhei Province. Plere, the
use of these terms signifies the grand sweep of the mural painting.

Lines 11-12: |ust like Li Lintiuthe two men named m these lines
were tormer directors ot the imperial secretariat (zlioiiosliii liin;). and bv
naming them m his description ot Li's painting. Sun Ti mdirectlv attrib-
utes their qu.ilities to him. Xun Yu (I()3-2I2 < .r .) w.is said to be so tr.i-
grant that when he visited a home or sat on a pillow, the scent could be
detected tor three days afterwarci. Yue Guang (252-354 C.E.) was
known lioth for his tolerant dispositiem and brilliance as a conversa-
tionalist. A coiuempor.irv once remarked: "This man is ,i ii',iicr minor to
other men. Seeing him is like rolling awa\' the clouds and mist and gaz-
ing at the blue skv |annotator's italics] ," translation quoted trom
Rich.ird B, Mather, trans., Slilli-<liiio I hiii-yii, 21'', anecdote <S/23. For
the Chinese text, see Liu Yiqmg, Slil^lnio .SA: 1 13,

Line 13 .ilkides to a passage attributed to Gontucius (551—47*-)
B.C.t.) in the ancient Chinese dixinatory text, the (Book of

changes), w hich states: "In the Dao ot the noble man / There's a time
tor i;t>/;/i; /(Tf/) / And a time tor sliiyiiio siill, / A time to remain silent /
And a time to speak out |,innotator's italics|."Translation i.]uoted trom
Rich.ird John L\ nn, The Book ol ( dhiiioo: A Wii' Iiiiii^ltiiioii ol ilic I
Cliiiio iis Intcipictcil by l]liiio Bi (New York: C'olumbia Universitv Press,
I'^H), 5S and 217. For the Chinese text, see Hong Ye (William Hung)
et al.,eds., ZlioiiVi yiinic (A concordance to the Yi C"hing), Harvard-
Yenching Sinological Institute Inciex Series, supplement 10 (Beipmg
|Beijing|:Yanjing University Library, 1935), 41 (sect. 6, end).

Line 14 alludes to a passage in the semiii.il Haoist text, the Ddodcjini^

(Book ot the Wav and its power), attributed to the ancient sage Laozi
(Master Lao, ca. dth century B.t .E.), which st.ites: " What is most pertect
seems to have something missing; yet its use is unimpaired. What is
most ///// seems empty, vet its use will never tade [annotator's italics]."
Translation bv Arthur Walev. The ]\'iiy mid Iti r'oiivr:A Study ol the Tiio Te
Cdiiiio and //s l'h](e ill (lhiiie\e riioiiolil (London: George Allen i\ Umvin,
P'34; PX-.5 edition.), IMS. For the C:hinese text, see Wang Bi (226-24')
C.E.), Ltiozi Diiodejiiio zliii (emolument. irv to Hie Uiiy iiiid its /hiicc;, bv
Laozi), 2:2S (stanza 45), m Zliiiii liiliem^ (Compendium cit works by
famous masters) (Beijing: Zhonghua shu]u, 1''54; l'-)iS6 reprint), vol, 3.

Line 13 theretore means that poetrv (and perhaps Li Lintu's poem in
specific) describes the hum.in condition, whether one participates in
societ\- or sta\'s in prix ate lite, while line 14 means that paintings (and
peril, ips 1 1 Lmtu's p.iinting in p.irticular) depict the ebb .md tlow ot
n.iture. In other words, Li's poem ,ind painting encompass both the
human and natural worlds.

Lines 15—16: In this versic^in, line 15 ends with the character iiinii
(years), whereas the hanging-scroll \'ersion ot this line ends w ith iliiiii
(springs); see catalogue entry IS. According to a nc^te appended to some
published versions of the poem, line Id is a direct reaction by Sun Ti to
a selt-deprecatmg remark that appeared m Li Lmfu's original poem. The
line m,i\ also reter to the t.ict that m 744, Li was ser\ ing m his eighth
\ear .is chief minister.

ENTRY 16. Poem hy Dii Fit

56 This fifteen-hne poem, titleci "Song PLn'fully Inscribed on a
Landscape Painting b\' W.mg Zai, " wms composed m 7()0 bv the Tang
dynasty poet Du Fu (7 12-770), who w'as then residing m Chengdu,
cipital ot Sichuan Province. There, he evidently had the opportunity
to \'iew .111 imposing work bv the contemporary Sichuanese landscape
p.imter Wang Zai (active mid- to late Sth centurv), ,ind composed this
poem. For .i brief notice on Wang Zai, see Willi. im R. B. Acker, Some
T'liiie mid I'le- r\iiio 'lt:\t.^ on CJiiiie.H' i\iiiitiiio, 2:277— 7S.

This poem bv Du Fu .ippe.irs in numerous standard collections and
anthologies, all of which agree with Bada Shanren's rendering of the
text. For example, see Peng I/)ingqiu et ak, conips., Quiin /''"'t; shi,
2k):2305; and Kong Shoushan, ed., liiiioclhio tiliiuL^lii ;//;/, l24-2fi.
For two previcius English translations of the poem, see William Hung
(Hong Ye), Tu Pii: Chiii,i\ Guuitesi Poet, l:l()')-70 (poem 176); and
A. R. Davis, 7;/ Fu (New York:TwMvne Publishers, k)7l). I3S-3':).

The current leaf origin. ilk' belonged to a nine-leat calligrapkv
album, seven other leaves from which are lu the Freer collection: see
catalogue entries 10, II (two leaves), 13, 14, 15, and 31. For a full list of
that album's contents, see Wang .md Barnhart, Md:>ier ol the Lotm
Garden. 269 (Appendix C, no. lOd).

57 Line 5: Lhe Kiinlun mountain r.inge. located m modern Xinjiang
Province south ot the Takla Mak.m desert, was traditionally believed to
be the home of the mythological Xiwangniu (Queen Mother ot the
West) and her garden containing the peaches of immortality. In the

opposite direction, F.mghu \\'.is one ot three m\ tliolo;j;ical islands situ-
ated 111 the ocean east ot Cliiiia, \\ here lary;e ininibers of iiiiiiiortal
bein!j;s were said to dwelLThe references to Kiinkin and Fany;hii iiiaN'
indicate that Wang Z.n's paintiiiij; actiiall\' inchided depictions ot these
tw o mythological paradises, or ma\ smipK' be .1 case ot poetic h\ per-
bole, indicating that the painting depicted a broad swath ot terrain troni
west to east.

Lines 7— <S: Baling is an ancient name tor the town t^f Yueyang.
Kuated on the northeastern shore ot Dongting Lake in Hunan
Lrox uice, ne,ir its otittlow into the Y.iiigzi Ri\ er. Red Blutl (Chi'aii)
iiKiN' reter to a now eroded hill that once stood on the north shore ot
the Yangzi River in |iangsu Province, south ot the niodern city ot
Yangzhou. These pLice names again indicate the broad scope ot the
painting. The SiKer Stream (Yiiihe) is one of se\eral common names
gnen to the Milk\' Wa\, w hich is thought ot m Chinese tradition .is a
celestial ri\-er.

Lines 14-15: Bingzhou is an ancient name tor the city of Taiyuan,
in Slianxi Province, which was e\'idently tamous tor its manutactiire of
sli.irp blades. Wiisoiig Creek is the iKiiiie ot a ri\ei" ni [langsu Pro\ ince
tli.it tlows east trcMii L.iihu (Lake 1 ai), through the numicipalitv ot
Sh.mghai, and empties into the Yangzi River near its mouth.

ENTRY 17. Rtihhiiio of flic "Holy Mother MiiiiiiH i ipi"
58 The text ot the"HoK' Mother Manuscript" w as composed 111 7*^)3 by
• 111 unknown .lutlioi" to record the ivnowitioii ot a 1 ),ioist temple dedi-
cated to the Ploh' Mother ot Dongling (l)oiigling Slieiigiiiu) near the
modern cit\ ot Yangzhou ([langsu Proxmce). Although unsigned, both
the text and calligraph\' were tradition.ilK attributed to the tamous
Tang dx iiasty calligrapher and Buddhist monk Huaisu (ca. 725-ca.
7')')), who was renowned tor his wild-cursive script, as seen in the rub-
bing.This association w ith LIuaisu led to the preservation ot the callig-
rapliN' m liKSS during the Nc>rthern Song d\'nast\" when the text w.is
carx'ed onto a slab ot stone, w hich still sur\'i\'es 111 the Beilm (Foirst ot
Steles) m the city of Xi'an, Shaanxi Province. The original manuscript
ot the text was lost, but I'ubbings ot the stone were produced soon after
car\ iiig and have been made ever since. For a list ot traditional coni-
iiient.iries on the subject, see Yang Dianxun, SliiL-c illui ^iioyiii (Index of
comments and colophons on stone inscriptions) (Shanghai: Shaugw 11
yinshuguan, l'J,S7), (i'-)3. On the calligraphv ot F^uaisu and a briet dis-
cussion ot the attribution of this work to him, see Adele Schlombs,
hhidi-^ii and the Bcoiiniiiios oj (I ilil-iiii.-^irc Siiipt in C7/;';u>(' Ciilliiiidpliy.
Miiuchener Ostasiatisclie Studien, Band 75 (Stuttgart: Franz Steiiier
Verlag, I'JVS), l4')-5().

ludging troni the placement ot his three seals, the current rubbing

e> evidentlv belonged to Bada Shanreii and was the immediate scnirce tor
O

< his transcnptie^n ot the text that tollows on a separ,ite sheet ot paper,

u While It is not known it Bada himselt considered the rubbing to d.ite

2 ti-om the Song dynasty, the writers ol the two labels aft'ixed to the stroll

believed it to be an early example from the period. Fin ther study is

z rec|Uired to accurately date the rubbing.

154

59 B.ida Shanreii's transcription ot the text contains a number of
omissions and anoni.ilies. For example, in columns 4 and I I of Ins tran-
scription, ISada writes the ch.iracter luiii (to transtoriii), while ,ill other
transcriptions re.id the original character as yc (copula) (Note: Bada
correctly transcribes the character ///di 111 coliniin 1*^'): and 111 columns
11 and 12 t"it his transcription. Bada tw ice writes the character jin (old)
instead ot the cc"irrect chaiMcter yiic (to sa\', be called), therebv rendering
the aftected passage unintelligible. Over the course ot the text, he also
omits three indi\idu,il ch.ir.icters and tails 111 two loc.itious to indicate
lacun.ie in the .ictual stone. W hile other tr.niscribers ot the text iiia\'
varv at times, the\' ,ire gener.ilK' un.niimous in their anah'sis ot such
characters and details. For those passages of Bada Shanren's transci iptioii
that are garbled, the translation follows the consensus of opinion
recorded in the tollow ing six transcriptions:

1. Dong Qichang (I.S55— l'>3('i), Xiiioslni <lii "Slicn(;inii tic" yiic
(Albuiii:Transcription ot the "Fdoly Mother Manusci"ipt," in run-
ning script). 111 Sliiqii luioji xnltian (C'.italogue ot the Qmg imperial
collection ot painting and calligraplix, second sei ies 1 17''3|), conipi.
and ed. Wangjie (1725-1805) et al., 7 vols. ( Taipei: Gugong
bow-uvuaii, 1971), (>:33(W- 10.

2. ZhangTingji (l7(iS- l(S4S), Qiu'^yioc liha (Inscriptions and
colophons b\- Zhang Ting]i) (China: priwiteK' published |i)ing
taiiiil\ |, LS'M), |44a-b (text) ,ind 143. 1- 144a (comments).

3. Lu Yaoyu (1771 - hS3(>), jin^hi xnluan (Lurtlier studies in epigra-
phy) (China: Shuangb.n\antang, LS74), '': hSa-b (transcription
directly troni the stone) and "~':l'^'a-b (comments).

4. Lu Zengxiang (1SI6— ISS2), Baqiono^lii jin^lii hnzlicno (Sttidies m
epigraphs) (Bei]iiig: Wenw 11 chub.mshe, l''S3),741 (text) and
741 -42 (comments).

5. Sugiiiiura Kunihiko, Kaiio Sciho clio (The "F^olv Mother
Manuscript" b\- F4uaisu), 111 Slioscki nicihiii sokan (Compendium ot
famous works of calligraphy), vol. 191 (Tokyo: Nigeiish.i, 1974),
24-45 (rubbing), f-)4— 65 (eliscussioii), and 67—68 (transcription),

6. Nakata Yujiro. Vc, Clio Kyokii, Kinso,\'o Gyosliihi (Li Yong,
Zhang Xu, Fiuaisu, and Yang Ningshi), in Slioilo ocijntsii (The art
of calligraphy), ed. Nakata YCijiro, vol. 5 (Tokyo: Chuo koronsha,
1976), 207—08 (transcription and discussion) and plates 134—39
(rubbing).

60 The first twii-thirds ot the "F^ol\■ Mother Manuscript" .igree with
and ampht\ the earliest biogr.ipli\ ot the Holy Mother, w Inch w as

w ritten b\ the medieval 1 ),ioist author C^e Hong (2S4-364 C ,E., or
254-334 c .[.): see Ge Hong, Slicnxidii :lin,ni (Biographies ot the
immortals). 6: |()b- 1 la. in ]]'SKQS, disc I Id. The last third prox ides
mtormation that is not cont. lined in other sources. It mauiK' concerns
the popuLintX' ot the FloK Mi)ther's temple .ind brietT' traces
imperial support tor the temple troni its toiindmg in the e.irK' 341 K
r.E. during the reign ot Emperor Ixaiig, to Emperor Yang ot the Sui
dynasty in the earlv sex'entli tenturv and tiu.ilK' to the 79(K 111 the
Tang d\ iiasty.

In the i-iibbiiiu; text, two cliaractcrs arc evidcntlv niissinsj; at the end ot
the passa;j;e eoncetnmg Emperor Yang ot the Siii d\ nast\', perhaps ow ing
to damage m the original maniisenpt prujr to its carving onto stone. I his
iK iina 111 tile text makes interpretation ot the passage somew liat prob-
lematie, hi tlie following passage, the term "nine sages" proh.iblv refers to
the nine Tang emperors who h,id oeeiipied the throne trom the toiinding
of the dynastN until the current emperor: i.e., trom Emperor Gaozu
(reigned (')|S-26) to Emperor Dezong (reigned 77''-lS()5), omitting the
usurpation ot EnipressWu Zetian (reigned 6')()-705).

Atfer noting Tang imperial support tor 1 Maoism in general and the
current need to renovate the Holy Mother's temple, the unknown
author of the "M.inuscript" st.ites th.it his patern.il uncle had taken up
the task ot repairing the temple, .in .ict ot p.itroiiage tor which he will
long be remembered. In his tr.iiisci ip>tioii ot the text, liada Shaiiren
identifies this generous benetactor ,is someone bearing the name "Ckio,
Duke ofTaiyuan"; however, most other transcribers interpret the rele-
vant character Giio (surname) as ////; (conim.indery) and simpK' read the
phrase as "the duke ot Taiviian commanderv " (located in northern
Sh.inxi Prcix iiice). In either case, the e\ idence is msutticient to turther
identitx this individual, whose last named title ("C'onimissioner
Supervising the Army ot . . .") is also lacking two characters in the rub-
bing, probabK' tor the same re.isons suggested above.

bin.ilK', while the origm.il rubbing bears no .irtist's signature, B.id.i
Sh.inren added to his tr.iiiscription the purported sign.iture ot
Cangzhen, an alternative name tor Huaisu, thus clearK' indicating that
he accepted the tradition, il attribution ot the calligr.iphv to the monk.

61 The Aiih'hioi^iinphy ,ind llioii^iiiid ClhUih'Ici Es.^iiy are two ot Huaisu's
best-know n surx iMiig works w ritten in w ild-cursive script. As here,
Huaisu IS sometimes reterred to b\' the n.ime ot a temple where he
st.ued 111 Ills earl\' ve.irs, the Lutian an ( leiiiple ot the Emerald Sky),
near modern Lmglmg, Hunan Province.

Zhang Zhi (active ca. I5ii- l')2 ( .F .), also known asYoudao, is cele-
brated as one of the most iniport.int carK masters ot cursne script. He
was the first to apply a consistent logic to cursive writing, and is con-
sidered the originator ot the modern form. Zhang's familv was from
the frontier region ot liiiquan (ne.ir Dunhuang, in Cl.insu Province),
but his father had been allowed to change his registration to a city m
Cdiiiia proper.

Suo Jiiig (23^ — 3(13 C.E.), know n as You'. in, was famous for his cur-
sive script. His tamiK' was also trom |uK|uaii and he was a grandson ot
Zhang Zhi's older sister. In cursive script, Suo Jmg applied himself to
modifying and standardizing the forms previously devised by Zhang.
The statement th.it ]iuqii.in became a dependent territor\- oiiK after
these men had lett is historic, ilK uKiccurate. Eqii.ilh' uncle. ir is the asso-
ciation Bad, I Sh.inren draws between Zhang Zhi .ind Suo |iiig on one
h.ind, ,ind I liKiisu on the other, unless it is simplv to note that Hiriisu's
cursive script historically derives front theirs.

62 Several early Qmg sources record a se\enteenth-centurv Ming loy-
alist by the name of Yang Chunhu.i, but judging trom the det.iils of his

biogr.iphy the colophon-w riter ot the same name must have been a
different persc)n and remains unidentified. For a biography of the Ming
lowilist. see Sun Huanjing (late I'^th-early 2f)th century), ,U/;/ij yiiiiiii In
(Records ot Ming loyalists) (Haiigzhou: Zhejiang guji chubaiishe,
b-W5). 163-64.

63 The collectors w hc) ow ned twent\ -two of these twenty-five seals
lia\'e been identified. Fi\'e seals, belonging to one unidentified and three
lelentified owners, .ippe.ir onlv on the rubbing .ind not the transcription
and colophon, Three of these belonged to Bada Shanren himself, who
w.is apparendy the earliest owner of the rubbing to apply his seals. One
seal iiia\ h.ne belonged to Bada's contemporary, the poet and epigra-
pher Zhu Yizuii (lf)2''- 170''), but could also ha\e been applied by one
of Zhu's descend. lilts, while the fifth seal mav have belonged to the
younger scholar Shen Tong ( IhSS— 17,32), whose sobriquet w.is
Cluotang: howe\'er, this identificaticin remains uncertain since no com-
parable seals belonging to Shen h,i\'e been k^cated.

Three other se.ils c)n the scroll belonged to the .is \'et unidentified
collector Li Puquaii (l''th-2()th centurvr), who applied two seals on
the rubbing and one on Bada Sh.inreii's transcription, the earliest col-
lector seal to appe.ir there. He was eviclently a collectc^r of Bacia's
works, for three c^t his seals alsc) .ippe.ir on the hanging-scroll landscape,
"Fi\e Pines Mouiit,iin" (see cat. entr\ 24 ,ind note SO).

The remaining fourteen seals on the handscroU .ill belonged to tweii-
tieth-centurv collectors: five belonged to Lm Xiongguang ( IS'JS- 1^7 I),
who may haw taken the scroll to |ap,in,and fcuir to the collector Cheng
Qi, w ho alsc) resided for much c)t his life in |ap,in and first published the
scroll; see Cheng Qi, Bdila Sli,iiiicii slniliiin jl, pl.ite I (rubbing), plates
1.1—2 (Bada's transcription), and plate 1.3 (Bada's colophon). W.iiig
Fangyu acquired the scroll from Cheng Qi, and most receiitlv published
It along with comments in W.mg Fangyu, Biulii Slniiiicii jiisliii //, 2:4- 13,
esp, page 6, See also Wang's earlier discussion m "Bada Shanren de shuta,"
111 Biuhi Sliiiiiuii liiiiji. ed.Wang Fangyu, 1:397-98,

ENTRY 18. Poem hy Sun Ti

64 For discussion of this poem, see catalogue entr\ 15 .iiid relewmt
notes. See also Wang and B.iriih.irt, Md.srci of ilic Loins (jiiidcn, hS3 — <S4
(cat. no. 55, fig. I OS).

ENTRY 19. Cjoilillill'^ Cot

65 B.id.i Shanren made several paintings of cats. For a study that
includes this scroll, see Wang Fangyu, "Bada Shanren's Gir on n liork:
A Clbc ,S;/i(/)'," Oiicntulioiis 29 (April I99S): 40-4f).

66Wu Huflin (IS94-196S) was an important painter, connoisseur, and
collector of Chinese p.iintmg during the mid-twentieth century. As
here, works that were once part of his collection frequentlv bear seals
with both his own name and that ot his wife. Pan jingshu.

ENTRY 20, Copy of the "Half 'Stele ofXinofu Temple"
67 During theWanli reign period (1573 — 1619) of the Ming dynnstv,
dredgmg project m the mo.it outside the southern wall of Chaiig'an
(niodern Xi'an.Shaanxi Province) exposed a broken grave stele from
the Tang dynasty, which contains the text that Bada Shanren transcribed
111 this album, The forms ot the individual characters on the stone were
ostensibly copied trom authentic examples of running script bv the
fomous calligrapher Wang Xizhi (ca, 3(l3-ca, 361 c,E,). In his postscript,
Bada quotes the first two half-columns of the stele text, which record
that the stone originally stood on the grounds ot the Xiiigfu Temple
(located a short distance south ot the citv), and that an otherwise
unidentihed Eiuddhist monk named Daya was responsible for selecting,
copying, and rearranging Wang's original characters into a new text.

Atter Its excavation, the broken stone was placed iii the Forest of
Steles (Beiliii) in Xi'an, where it remains to this dav. Analysis reveals that
the stele originally contained thirty-five wrtical lines of text with some
titty characters m each; however, only the bottom portion of the stone
survived at the time oi its discovery and each column of text was cut
roughly m halt, leaving three columns of text eiitirelv blank and the
remainder containing )ust twenty-three to twent\'-tl\'e characters each.
While these losses rencier a coherent reading, or translation, ot the text
impossible, numerous scholars and epigraphers have recognized the stele
as one ot the tmest surMviiig examples of Wang Xizhi's calligraphy m
running script as it was understood and practiced during the Tang,

The stele was evidently carveci as a tomb memorial tor an individual
whose surname does not appear m the surviving text, but who in 7(J7
attained two relatively imp>ortant military ranks in the imperial palace.
The last clear date on the stele is No\'einber 17, 721, which may have
been around the time that the man died and the stone was carved, A
misreading ot the emphatic particle )'( in the fifth column of the stele
led some early commentators, such as Zhao Han (active I59(ls-after
1618) and Guo Zongchang (late 16th-early 17th century), to believe
that the subject ot this grave memorial was surnamed Wu, an error that
continued to influence many discussions of the stele throughout the
Qiiig dynasty and that was followed by Bada Shanren in his transcrip-
tion ot the text. However, another Ming dynasty scholar and epigra-
pher. An Shiteng (155S-after ]()30), correctly read the character in
question and noted that the man's surname does not in fact appear, a
conclusion continued by all modern scholars of early Chinese writing.
See Wang Chang (1725- IS()6), _//(;</;/ cuihiau (Compiled comments on
metal and stone inscriptions) (China: Qiiigxuntang, 1805), 73:20a-21a,

While Bada Shanren's interest in this text was based on its calli-
graphic pedigree leading back to Wang Xizhi, he actually executed this
album in his own style ot running-standard script, rather than as a close
imitation ot Wang's calligraphy Bada's usage ot the word "copy" is
problematic and clearly means something other than the usual
detinition. For other examples, see catalogue entries 6, 31, and 32: and
notes 10, 97, 102, and 103,

Bada Shanren wrote the HalJ-StcIc as a continuous whole and did
not indicate breaks between the original columns of text or other lacu-
nae. His transcription ditters m many instances from both the actual

stele text and other available transcriptions, occasionally adding charac-
ters that do not appear on the original stone, omitting some characters,
and niis-transcnbing others. Despite these shortcomings, Bada's per-
sonal rendition of the text is apparently among the earliest calligraphic
transcriptions ot the stele known to survive. The following four pub-
lished transcriptions, three ot which are accompanied by rubbings of
the original stone, were consulted m preparing the Chinese text of this
album: Wang Chmg,Jiiishi cuibidii, 73:18a-20a (apiparently the earliest
published transcription of the stele); Matsui joryu,"K6fukuii danpi"
(The half-stele of Xmgfu Temple), m Sholiiii S3 (October 1957): 67-70
(discussion and transcription), and plates 1-28 (rubbing in album for-
mat): Fushimi Chiikei,"0 Gishi K6fuku]i danpi" (Wang Xizhi's "Half-
Stele ot Xmgtu Temple"), in Slio:^chi iiiclliiii .^ohtiii (Compendium of
famous works ot calligraphy), vol, 73 (Tokyo: Nigensha, 1969), full
rubbing ot existing stele together with rubbing in album format, plus
discussion and transcription; and LiuTao, ed., Zlioiiiii;uo shiifa qiiaiiji 19.
Sdiif^iio, Liiiiiojiii, Naiihcicliiio:l]liiio .\7c/;/ ]\'aini Xiaii:lil, jiiaii cr
(Compilete Chinese calligraphy, volume 19. Three Kingdoms, Two Jm
Dynasties, and Northern anci Southern Dynasties: Wang Xizhi and
Wang Xianzhi, part 2) (Beijing: Rongbaozhai, 1991), 216-35, plates
129:1-20 (rubbing in album format), and 409-11 (comments and
transcription).

The Bada Shanren album has been published twice in full, however
the leaves are out of order m both cases. See Wang Fangyu, Bddd
SIhiiiicii Jdiliii ji, 2:17-27 (with discussion); and Wang Zhaowen,ed.,
Bddd Slidiiivii quduji, 4:826-33 (cat. no. 83).

68 Little IS known about the colophon writer Tang Yunsong, other than
the tact that he hailed trom the city of Nanfeng, in Jiangxi Province,
and received h\s jiiislii (advanced scholar) degree in 1840. Tang mistak-
enly claims that Bacia Shanren was the grandson of Prince Yi, in this
case probably ZliuYouben (active 1615-after 1646), who was the sixth
and last individual to hold this princely title, which he inherited trom
his father in 1615, The Yi princedom was located in the city of
Jianchangtu (modern Nanclieng), on the Xiijiang River in eastern
Jiangxi Province, In tact, there is no indication that Bada ever settled m
either m the town ot Jianchang or the Xtijiang area in general, and
recent scholarship has established an entirely different line of descent
tor Bada Shanren — from the Yiyang branch of the Niiig princedom m
Naiichang, Jiangxi Province, For a review of modern scholarship on the
subject of Bada's name and lineage, see Wang and Barnhart, Master of the
Lotus Gdidcii, 24-30 and 37,

The term, "Two Wangs," refers to the father and son calligraphers,
Wang Xizhi (ca, 303-ca, 361 C,E,) and Wang Xianzhi (344-388 C,E,).

ENTRY 22, Poeiii by Gciii^Uei

69 This twelve-line poem, titled "Inscribed at Clear Springs Temple,"
was composed by the Tang dynasty poet GeiigWei (active mid- to late
8th century), who is best known as one of the Ten Talents of the Dali
Period (766-79), Geng wrote this poem during a visit to the Clear

Springs Temple (Qingyuan si), located on the Lanti.m estate ot the
recenth' deceased statesman and nature poet Wang Wei (ca. 7(11—761),
who IS the actiril sub]ect otthe poem. Situated along the Wangcluian
(Wheel Rim C'reek) m the foothills ot the C^inlmg range south ot the
Tang imperial capital ot C 'hang an (mo(.lern ,\i an, Sliaanxi I'lxn ince),
WaiigWeis country estate subsequeiulv bee. line one ot the most cele-
brated spots 111 Cdmiese cultural histor\. Me biiilt a \ illa there tor the
comfort ot his elderly mother and, being a devout Ikiddhist. w hen she
passed a\\ a\' he established the ("lear Springs Temple m her memory.
On his o\\ n demise, the poet himself was interred on the temple
grounds next to her. Wang w rote iii.inv famous poems about his estate
and IS also credited with a painting ot the local landscape th.it inspired
generations ot l.itei- p.iinters. Bada Shanrens transcription of Crcng
Wei s poem differs m se\er,il pi. ices from the texts found in st.ind.ird
anthologies. For example, see: Li Fang {'>25~'>'>(>) et ,il.. comps..
II(7;)'//<7// yiiioliiiii (Bright blossoms in the garden ot hter.iture, y.S7),
6 vols. (Beijmg: Zhonghu.i sliu]u, I'X.b; \')>H) edition), 2: 1572-73
|3( I7:3b-4,i I , ,ind Peng Dingqiu et .il., comps., (Jiiaii liiin; <lii.
269:2995 -'«).

Bada wrote Geng Wei's poem on .it least one other occasion: Leaf b,
riinnmg-st.indard script (dated l(i''S), m ,i sixteen-le.it .ilbum m the
Asian Art Museum, San Francisco. For a cliscussion ot this album, see
"Wang and Barnhart, Mihici of the Loim Garden, 181-S3 (cat. no. 54; tig.
1(17) and 229-30.

70 Line I : "Ruism" refei s to the philosophs ot Confucius, who stressed
the wilues ot humaneness, soci.il oi"der, .iiid dut\'. "Moism" refers to the
philosophy of Mozi (Master Mo, or Mo Di, ca. 4S()-ca. 42(1 li.c .£.),
who preached an .iscetic doctrine ot universal love and social weltare,
with .111 emph.isis on .igriculture and strict ,i\oidance ot excess. Wang
Wei was famous tor balancing these philosophies w ith his persemal
devotion to Buddhism, the "Holy Religion."

Line 3: Meng Wall Coxe was one ot the famous sites on Wang
Wei's estate.

Line 5:The term "inner teachings" refers here to Buddhism.

Lines I ( 1: "C "lolden e.irth " refers to the site of ,i Buddhist temple
or monastery. 7 he line simply means tli.it W.mg Wei's mortal remains
are buried at the Clear Springs Temple. The Stone C^aiial is a reference
to one ot the official liLiraries located on the grounds t)f the imperial
pal.ice. M.inv of Wang Weis poems and other writings were lost during
the troubles of the late 75()s.T litis, when his \ ounger brother W.ing |in
(died 7SI) later serx ed ,is a minister to Emperor Daizong (reigned
TtK^ — S( I), he w'.is instructed to collect his brother's siir\'i\'iiig works.
Although many were scattered and lost. W.mg ]in ni.inaged to g.ither
more than tour hundred poems to present to the emperor. See Liu Xu
et al., comps., //// laiio \hii, |9()C^:5()53.

Line 12: When the scholar and high othcial Cai Yong (133-192 c .E.)
was serv ing at court late in his lite, the promising teenage poet Wang
C^in (177-217 C .E.) came for a visit. Cat Yong was so impressed bv the
\outh th.it he instructed his household to transfer .ill his books .md
documents to Wang. See Cdien Shou (233-297 f.t.), coiiip., 6'i/;(c//(' ;///

(Record of theThree Kingdoms period, 221 -2S() ( .e.) (Beijing:
Zhonghua shuju, 1959; 1973 edition), 2 1 :597.

ENTRY 23. Peonies

71 The theme ot this poem and accompanying p.imting is the slhioyiio
peonv (Paeoiiid hictitloui), an exti'cmelv popular garden pl.iiit in C'hma.
Bada Shanren evidentlv cre.itecl this work on the annual celebration ot
the Birthday ot Flow'ers, a festiv.il that occurs on the twelfth dav of the
second luii.ir-month, in response to .i poem bv .i friend.

Lines 1-2: In line I , the "cl.issics" refer to a )i,irticul,ir group ot
ancient texts th.it t ollectiveh comprise the lieailw .itei's ot iii.iinstreaiii
Chinese culture and cunstitute its e.irliest literature, lustorx, .md philos-
ophy. C)rigin.ilK' composed during the Zhou dynasty (1(150-221
B.i .E.), main' ot these earh' texts onh' receiwd their current form dur-
ing the subsequent Ldan dviiastv (206 K.(. .E.-220 (. . I:.), when tlie\' were
tormallv elevated to cancmicil st.itus ,ind scholars beg.m to compile
critical glosses .md commentaries. The name ot Sh.iobo (I ord Sli.io,
11th- lOtli century is.i .E.), a worthy minister ot the e.irly Zhou, .ippe.irs
m sever.il ot the ancient classics; in particul.ir, in the three st.inzas of the
poem "Gantaiig" (Sweet pear), in the Sliijiiio (Classic of Poetry, l()).
where he is said to ha\e"t.iken shelter." "rested," and "reposed" bene. ith
this tree, .ilso know n .is uiiioli il'yiie^ /n7////7('/;'i;j. While there is no .ipp.ii-
ent associ.ition between Lord Shao .md teastmg, the <,;(!/(/(i/(i,' blooms
during the second liin.ir-month. w Inch corresponds to the tune ot vear
when Bad. I cre.ited tins poem .ind p.nntmg; i.e., the Birthday ot
Flowers, w hen triends would tr.idition.illy get together and write
poems about the season.

The //ii/7i!/;(j (crabapple; Clideiioineles Liociniriii. or Mains iiiiiioiiialiis).
w inch was evidently the topic ot .i poem b\' Bada Shanren s
unidentitieil friend. Mister Kezhai, is one ot the most spectacul.ir flow-
ers to bloom during the second lun.ir-nionth. It also sh.ires the second
character ot its n.ime w ith <^iniliiii<^. which mav hax'e proxaded a connec-
tive assciciation w itli Lord Shao. In anv case, m these two lines, B.ida is
simply s.tying: I h,i\e looked diligently thniugh the records ot antiquity
and cm tmd no record ot .i te.ist ,is tine .md sumptuous ,is the one we
are en]o\ ing tod.ix' on the liirthday ot Flowers, w hen the pear and
cr.ibapple are in bloom.

Lines 3 — 4:The shaoydo peonv begins to bud m the second lunar-
month, but oiiK' blossoms tullv during the fourth lunar-month. In these
lines, Bail.i svmbolic.ilK' sends the budding peoii\' (i.e., tins painting) to
remind Mister Ke/hai ,ind otlua's ih.it iii lust .i tew weeks it will blos-
som even more splendidly than even the crabapple, sweet pear, .ind
other second-month flowers (It you think the flowers we are enjo\'iiig
today are glorious, ]ust wait a few weeks until the peonies .ire in
Lilooni!). Natural messengers bearing this sort of "news" are a common
trope in Chinese poetry.

Shell ToiigUl commented on tins poem in Ins article, "Slnshi B.ul.i
Shanren tihu.isin" (Explanations of Batl.i Slianreii's poems on p.iintings),
m Biiihi SIhiiiieii yiiiijlii (Studies on Bada Shanren). ed. Bada Shanren
imiaiiguan (N.inchang: |i.ingxi renmm chubanshe, 1986), 136-37. The

poem is also annotated in Zhu Anqun and Xii Ben, Bihi,i Sliiiiircii <lil yii
liiid (Poems and panitnigs of Bada Slianren) (Wiieliani;: HnazhoiiL;
ligong daxue cluibanshe, l'>'^3), 5 1-2. These commentators directly tie
the sluioyiw peony to the city ot Yangzhou, w ith \\ Inch it is traditionalK'
associated, and advance a complex argument to arrn e at a somewhat
ciit'terent interpretation ot the allusions in the poem. Wang Fangyu
agreed w ith their general argument and adc^ed further comments: see
Wang Fangyu, Bada Shiiiiicii liisliii li. 2:34. For a prex ious translation ot
the poem, see Wang and Bariihart, \Lisici of ilic Loiiis Cauicii. 3fi-37.
The poem is also recorded m Wang Zidou, Bada Sli,niicii ^diiclhio, 41.

72 Bada Shanren painted this scroll m an unspecified year on the
aniuKil celebratKiii ot the Birtlida\' ot Flcwers (see abo\'e). It Wang
Fangyu is correct m dating this work, then the da\' m question w as
either March 13, 1699, or April I, 17il().

This painting was once owned by Zhang 1 )a<.iKin ( hS99- 1983),
who along with his brother Sh.inzi (1882-1940), added tlve seals to
the scroll. Zhang published a photograph ot the work in his Diitciioi.iiio
iiiiiioii. vol. 3, plate 7, and a transcription ot Bada's poem and seals m
his Dittcii{iiiiiio ^huluia hi (Recoixi ot calligraphx" and painting in the
Dafeiigtang collection) (China: prix'atelv published, F'43),46b.

ENTRY 24. F/l'C PillCs Moilllldlll

73 The outside label w ritten b\' Zhang Daqian, also known bv his stu-
dio name nateiigtang (ITill ot Clreat Wind), prox ides the only recorded
title tor this landscape p.unting, Bada Shanren seldom gave formal titles
to his paintings anci rarely depicted specific geographical locations, so in
all likelihood this is simph a descnptixe title imented b\' Zhang. The
composition c^t this mk-and-color painting, w itli its ocid perspecti\'e
created by the overhanging clitf at top right, is closcK- related to a sec-
ond landscape by Bada titled "Pavilion m the Autumn Woods," m the
Shanghai Museum ot Art. See Wang Zhaciwen, ed., Bii(fii Slidiiicii qiiiiiiji,
3:518 (cat. no. 142; hanging scroll, l(i'-)9).

Zhang Ceng. Guodiao hiidzheiiohi (Records on painters of the Qmg
d\'nasty, preface 1739), m ZlioiiO'^iio slniliii<i qiiaiisliu (Complete writings
on Chinese calhgrapln ,iiid painting), conip. Lu Fusheng et al.. 10:425.

76 Qui Yueju (aetiw- 1717-34) came troni a scholar-otficial family of
Xmjian (modern N.iiiehaiig). |iangxi Proxance. He passed the piwiiicial
examinations in 1717 and later ser\ed as a couiit\ magistrate in
Guangdong Pro\ nice. Qiu's specitic connection with Bada Shanren is
not certain, but probabK reaches back to the previous generation, when
other members ot his clan, such as C^iu Lian ( 1(")44- 172''), counted
theniseKes among B.id.i's closest triends.

77 Yes usage ot the term iaiiln. tr.uisLited here as "backward strokes," is
unclear. While it wiuild seem to iiie.in brushstrokes that are executed in
opposite the usu.il tashion (from bottom to top, for example), careful
scrutiny ot the p.unting reveals that this is not the case. Ye Dehuis main
point, which he reiterates in his Cw/, //;////.; bdiyoiio (see note 74), seems to
be a presumed correlation between the ni.inner ot Bada Shanren's brush-
work and the emotional distress ot Ins social and political circumstance as
a sur\ i\ iiig member ot the iiiiperi.il clan ot the defunct Ming d\ nast\'.

78 [ieqmg remains unidentitied.

79 Ye Dehui is .ipp.iientK referring to the well-know n Southern Song
d\ iiast\' work, the Doiioiian qiiiolii (Pure records from the cavern
hea\'en).by Zh.io Xigu (ca. 1170-after 1242). which contains a collec-
tion ot random entiaes on various types of collectible ,irt ob)ects, such
as zithers, iiikstones, and ancient bronzes, as well as rubbings, paintings,
and calligrapln. Wli.it he is actualK' s.i\'iiig, however, and how this refer-
ence relates to |ieqing is unclear.

80 Li Puquan lemains unidentitied: hciwever, his collector seals also
appear ctii both the rubbing and Bada Shanren's transcription of the
"Holy Mother Manuscript" (see cat. entry 17 and note (>3).

74 Attached to the mounting at the lower left of the painting, this
colophon w as written m Ma\ /juiie PM7 by Ye Deliui (18^4-1927),
a scholar, calligrapher, bibliophile, and conservative politician from
Changsha, Hunan Province, judging from Yes comments, the painting
was acquired iii Changsha and had been m his possession since the early
to mid- 1890s. Ye Dehui also mcludeci a general description and discus-
sion ot this painting in notes to Ins i]iianlnia baiyou'^ [Owe hundred
poems on paintings 1 have seen) (China:Yeshi C.uangutang, l'M7), 4:2b.

75 Zh.ing Ceng (1685- 17()0), .ilso known as Pushan, was ,i painter,

3

o connoisseur, and author of several bc^oks on contemnorarv painters .iiid

0 r . r

1 painting, among them the CiiocImo IiiuizIiciioIii (Records on painters of
5 the Qing dynasty), m which he discusses some 465 seventeenth- and

2 early-eighteenth-century artists. As noted by Ye Dehui, Zhang arranged
;f the artists in this book more or less by date of birth, with the exception
2 of Bada Shanren, who anachronistically appears as the first entry. See

81 The collectoi' seals of WangWenxin (19th-2(lth century) appear
on a number ot other works by Bada Shanren: for example, see Wang
Zhaowen, ed., Biuhi Sluiiircii qiidiijl, 1:162-69 (cat. no. 23; calligraphy
handscroll. 1688); 2:412- 13 (cat.no. |02: painting handscn4l. I()96):
3:596-605 (cat.no. 1 82; painting album. 1702): and 3:(i9()-7o2 (cat.
no. 9; calligraphy album, undated, but ca. 1684).

ENTRY 2 5. I\hiii by Bni fiiyi

82 This thirty-four-line poem, titled "Three Friends of the Northern
Window." was written in 834 b\' the t.inious Ling dynastx' poet Bai juyi
(772-846). BacHa Shanrens transcription ot the poem dis.igrees with
st.mdard printed versions of the text in several instances, four of which
significantly altei" the meaning of the lines in w Inch the\- occur. In par-
ticular. Bada reversed the worcis for "wine" and "poetry" m lines 15 and
17, creating an infelicitous reading of the text. See: Peng Dingqiu et al..

158

coiiips., Qiiciii Tciiio <hi. 4.S2:S1 15: md Bai Juyi, Biv jiiyi ji jiaiijido
(Collected works of Bai w ith notes and variants), ed. Zlni Jnichcnu;
(Shanghai: Shanghai gii]i cluibanshe, IMSS). 2^:2(13(1-31. For a discns-
sion ot these three lea\'es, see Wang Fang\ai. Biula SIhiiiivii Idiliii ji, 2:39.

Bada Shanren transcribed this poem on at least one other occasion,
some three anci a half years after he wrote the freer albnm leaves; see
GaoYong (1S5(I- l''21), Tai^-lum C.au^liiloii iiiiioliihi, 32:3 (hanging scroll
m running-standard script, dated Nowmber- necember. 1703). In this
later version, the onlv know n work of his calligraphy dated to the year
1703, Bada also wrote lines 13 and 17 w ith the same reversal ot charac-
ters that appears in the Freer lea\es (see below), suggesting th.it he was
working h"om meniorv and n),i\ simplv have mis-remembered the
poem in this way.

83 Line L3:Tao Qian (365-427 ( .£.), ct^urtesv name Yii.inming, was
one of the most popular and mtluential poets in the histor\' ot China.
He chose to live m poverty rather than serve m the corrupt govern-
ment ot his time. While Tao was tamous tor his fondness for wme, .ill
standard versions ot Bai Juyis poem have the word "poems" here
instead of "wine." Although both readings make sense in reg.ird to
Tao, It IS clear that Bada Shanren has reversed the word "wme" with
the w'ord "poems" m line 17 (see below).

Line 16: Rcmg Qiqi (6th century IS.C.E.) was a poor recluse w ho
li\ ed near Mount Tai, m Shandong l^rovmce. Contncins once met him
dressed in a deerskin and with only a rope tor a belt, happily singmg
and playing his (]/// (translated here as "lute"). When C'ontucius askeci
w hy he was so happy, Rong replied that he had three reasons: he was
happy to ha\e been born human, happ\ to be male, and happ\' to h.ive
reached the age ot ninet\':"For all men poverty is the norm .ind death
is the end. Abiding bv the norm, aw.iitiiig mv end, what is there to be
concerned .ibout'" Coutucius then commented, "I le is a m.in who
know s how to console himself ." Quotations from A. C. Cirah.im, ti.ms.,
I'lic Booh of Licli-i:it (London: john Murr.iv lOdO; |073 edition), 24; for
the Chinese text, see Yang Bo|nn, comp., Liczi jislii (Collected explana-
tions of the Liezi) (Beijmg: Zhonghna shu]u, 1''79), 22.

Line 17: Liu Ling (died after 265 C.E.), courtesy name L5olun, was a
famous drinker, and belonged to a mid-third-century group ot eccen-
tric poets and musicians, who were celebrated m historv as the Seven
Sages ot the 13ainboo Grove. Although 1 lu once composed a "Eulogy
on the Virtue ot Wme" ( jnitlc .••oin;). he produced no other written
works. In this line, all other consulted versicms ot Bai luvi's poem read
the word "wme" instead ot "poems." Since Liu Lmg was famous for
having no interest m verse and not writing poetry, it is clear that Bada
Shanren reversed the word "poems" w ith the w t>rd"w ine in line 15
(see abo\-e).

Line 19:This line might well apply to all three men m lines 15-17,
but here it specifically refers back to Tao Qian (Yuanming), m line 15.

Line 20: rhis line refers back to RcTiig Qk]1 m line id.

Lines 29-30: It became fashion. ible during the Tang dynasty to fold
stationery into columns before starting to w rite, thus en.ibling the
W'-riter to keep his text vertically straight .ind eveiiK' sp.iced. In these

lines, Bai Juvi is simply saMiig that he is too inebriated to go through
the torm,ilit\' ot preparing the paper propeiK', and ]ust lets his brush
spontaneously write any crazy thing that occurs to him.

84 This sentence is ditllcult to understand as written md may suffer
troni a missing character.

85 For other works by Bada Shanren with the same unidentitled diiiii
(rectangle relief ) seal m the lower right corner, see Zhang Haqian.
Dalcin;itiiii; iiiiiniji, vol. 3, plates 24-2S (allium of ten lea\'es, eight leaves
w ith ( /(//// seal, one ot w Inch bears a date corresponding to May 5,
1700. around the same time Bada createcl the current set ot leaves). Four
leaves from this album now-' belonging to the Museum fiir Ostasiatische
Kunst 111 Koln are discussed mWang and Barnh.ii t, .\Lhtci of the Lotii\
Gaidcti. l')2-M4 (cat. no. 61. f,g. 1 14).

ENTRY 26. Ccdai Ttcc, Day Lily, iiiiil Whotails

86 The descriptive title tor this piainting was provided in an outside
label by the collector Zhang Daqian, who acquired the scroll sometime
after 1949, according to one ot his seals. While it is unknown if Bada
Shanren w-ould ha\'e called this work by the same title, the panning
does .ippear to be ,i kind ot \ isual rebus. In traditional Chinese culture,
the iliiiii (cedar; Ccdu'Li ^iiicihii, jiU'.y) is primarily revered tor its great
longevity. The tree also stands as a metaphor tor ones father, especially
when used in con]iiiiction with the day lily (.xiiaii), ,is here. The .v//ir//
(day lih'; Hciiicnwillis fiilra) is a common Chinese garden plant. Frcim
early times, it w as popularly known bv the name "forgetting sorrow"
(see also cat. entry 14, line 17 ot poem and note 52), but when used m
con]unction w.'ith the word tor cedar Icliiiii). the day lily commonly
stands for one's mother. In licerature and p.iintmg, the jiliiio (wagtail;
Motih'ilhi iliiiu'ii.<is) IS often used as a metaphor tor lirothers, both older
and younger. To the extent that these meanings are applicable here, the
painting forms a portrait ot a happy tamily. For additional discussion ot
this painting, see Wang and Barnhart, Mdslci of the Lotus Garden,
194-9h (cat. no. 62, tig. 1 17).

ENTRY 27. Two Gccsc

87 Geese were an important subject m the painting ot Bada Shanren
ciunng his later years, and have alw ays ranked as one ot his mcist popu-
lar themes among collectors. For a brief discussion ot the theme, see
Wang and Barnhart, Miister of the Loin\ Garden, 196. Other versions ot
this basic composition exist; tor example, see Wang Zhaowen, ed., Bada
Shanren qiiaiiji, 3:549 (cat.no. 162).

The current work is closely related to a group ot other paintings ot
geese, such as: Wang Zhaowen, ed., Bada Shiairen qiianji, 3:544 (cat. no.
157; two geese, undated); 3:553 (cat. no. 16(); tour geese, unciated); 3:583
(cat. no. ISO; two geese, undated); 3:609 (cat. no. 184; two geese, dated
1702); 3:625 (cat. no. 193; four geese, undated); 3:640 (cat. no. 205; six
geese, undated); and 4:S()7 (cat. no. 7; four geese, dated 1698). See also

Wang and Darnhart, Mnsfci of llic Lotus CiJiv/c;/, 27S, Appendix C, no.
174 (six gc'c'sc, dated 17(J5): and 274, Appendix C, no. 177 (tour geese,
dated 1705).

ENTRY 28. Poiir Tdlio PoCIII<

88 These tour calligraphy scrolls are basicalK unitorni in their pln sic.il
diiiieiisioiis, stvle ot runnmg-cursiw script, signatures, and seals, and
were presuniabK' created around the same time. In coiiipositicm, sci'olls
I .Hid 2 present texts ot tive-character verse \\ ritten in two columns ot
tourteen and six characters each, while scrolls 3 .ind 4 contain texts of
se\-en-ch,iracter verse distributed over three columns: thirteen, twelve,
and three characters; and twelve, thirteen. ,md three characters, respec-
tix'ely. All tour ot the scrolls contain Tang dN'nast\' poems tli.it are esseii-
tialK' generic in nature and w ere origmalK' composed tor specific social
occasions, such as parting, sightseeing, and ottering congratulations.
Scroll i contains a teasing poem ot t.irewell. with ,in underKing theme
ot escape troiii the mundane world; scioll 2 contains ,iii e(.]u,ill\' light-
hearted poem on the well-wnrked metaphoric.il theme ot climbing
high to see t.ir; and scrolls 3 and 4 celebr.ite successtulK' passing the
national examinations. Three ot the qiKitiMins (scrolls I, 2, and 3) are
among the best-known and most trequenth' .mtholiigized poems in
Chinese liteiMture.

H.id.i Mi.iiireii produced a number ot other indi\ idual hanging
sciolls th.it be.ir (.lu.itrams ot either ti\e- or seven-character verse anci
closeK resemble the current set ot works m composition, st\ le ot script,
signature, and se.ils. One work m particular, in the l^ilace Museum in
Beiiing, is x irtually a companiciii to scrolls 3 and 4 ot the current set.
MargmalK' larger m its recorded dimensions (177..S x 45. .3 cm), the
scroll contains a tarewell L]uatraiii in se\'eii-character \'erse b\' the Tang
d\'nastv poet ZhaiigYue (667— 73 1 ).The scroll is wiatten in the same
style ot ruiiiiing-cursi\'e script and uses the s.iiiie b.isic distribution ot
characters over three columns (13, 12. 3), h.is the s.ime st\ le of signature,
and hears the same three seals (plus one additional seal); see Wang
Zhaowen.ed., Bddd Slidiiivii qiuiiiji, 3:6 19 (cat. no. 187). Two smaller
hanging scrolls ot roughly the same size (147 x 40.7 cm and 148 x 39
cm) also bear quatrains in seven-character \ erse b\' the Tang poets
Li She (eark- to mid-9th centur\ ) and Du Mu (803-852); see Wang
Zhaowen. ed., Bid/j SIhiiiicii qudiiji. 3:622 (cat. no. 190) .md 4:807
(cat. no. 72). Other related hanging scrolls contain quatrains in seven-
character verse by Bada Shanren himselt) see Wang Zli.iowen, ed., B,h1d
SIhiiiivii qihiiiji, 3:543 (cat. no. 156, undated; first line taken t'roiii the
Tang poet Qian Qi [ca. 722-ca. 78()|); 3:618 (cat. no. 186, dated 1702);
3:638 (cat. no. 203); and 4:781 (cat. no. 57). For a smaller wc^rk ot tive-
ch.ir.icter verse b\' Bada Shanren that is w ritten m the s.ime st\ le ot
script, uses the same distribution ot characters oxer two columns (14. 6),
and bears the same signature and seals as scrolls I ,ind 2 m the current
set, see Wang Zhaowen, ed., B<ulii Sluiiiirii qiiduji, 3:628 (cat. no. 196);
and tor ,i related quatrain in tour-character verse w ith the same signa-
ture and seals, see 3:627 (cat. no. 195).

The current arrangement ot the tour scrolls follows the order pub-

lished in Zhang Daqian, Dafcii':;tiitio sliiihwo In, 43a -44b. For a difTerent
.irrangeiiieiit, see Wang and B.irnliart, .\lii\lci oj llic LaHiis Gdidcii, 206-8
(cat. no. 68, tig. 126), where the four scrolls ,ire presenteci m reverse
order .is ,i suite ot texts tcilkawing a p.irtii ul.ir them.itic sequence: see
also Wang Fang\'u. Bddd SIhiiiicii Idsliii ii. 1:44-45.

89 Liu C'hangqing (ca. 710-atter 787) w as one of the most important
and popular poets m the Tang capit.il during the mid- to late eighth
centurv Bada Shanren's \ ersion ot this well-know n t]uatrain completelv
agrees with standard published versions. For example, see Peng Dmgcjiu
et al.. comps.. (^iidii Taii'^ slil. 147:1481.

90 Wozlioushaii (Fertile Isles Nlount.im) is located east ot Xiiichang,
Zheji.ing Province. The mount. iin w.is t loseK' associated w ith the
f.mious tourth-centur\' monk Zliidun (314-366 i .t .), who founded a
temple there. Zhiduii once approached another monk about acquiring
,1 mount.iin ridge to l^uild a hermit. ige, .md receued the teasing replv
that the recluses ot antiquit\' were not know u tor acquiring land before
retreating troni the world. In this poem. I lu C h.ingqmg simply advises
his Buddhist friend to avoid such well-known li.iunts asWozhoushan if
he triiK' wishes to escape the trammels ,md encumbr.inces ot the wiirld.
For an English traiislatican of the anecdote .ibout hermits purchasing
land, see Richard B. Mather, tr.ins.. Sliili-slmo I hiii-yii, 412- 13 (anec-
dote 25/28).

91 W.iiig Zhihuan (6iSS — 742) was a higliK' regarded poet during his
litetime; how ex er, onh' si.x of Ins poems h,i\ e sur\ i\ ed, all well-know n
qu.itr.iins. According to its title, this poem w as composed on climbing
the Chiaiiqiielou (Hooded Crane Tower), a three-story tower on the
southwest cit\' w all ot Puzhou (modern Yoiig]i, Shanxi Province). The
site w.is loc.ited below high mount.iins on ,i bluff extending into the
e.ist side ot the Yellow Ri\'er as it flows south. The tower was a popular
x'lewing place during the Tang dynast\' and ,i number ot other contem-
porary poets also composed poems on climbing it. On Wang Zhihuan
and Ills poetrv, see Stephen Owen, Tlic Gicdt Ai^c of Cfiincsc Poetry : Tfic
Hiof, T'diio (New Haven:Yale University Press, 1981), 91-92 and
247-48 (with translation and brief explication of this poem).

This ciu.itr.im was often anthologized .iulI .ippe.irs m .it least twenty-
sexeii nia]orTaiig to Qmg dvnastv compilations. In about a third ot
these works, including an earl\- poetr\- .iutholog\' compiled during the
Tang (744), the poem is attributed to an indn idii.il named Zhu Bin. a
N'lrtu.ilK' unknown coiiteinporar\' of Wang Zhihuan. Pada does not
n.ime the poet of this quatrain, so it is uncert.im w hetlier he believeci
the .uitlior ot the poem to be Wang or Zliii. In ,iii\' case, his transcrip-
tion cntireK agrees w ith standard printed xersious ot the text. For attri-
butions to Wang Zhihuan. see: Li Fang et al.. comps., 1 1 (7/)7/i!/( )'niofiiid,
2:i(i04 |312:7a|;and Peng Dingqiu et .ik. comps., (^ui:ii 'liiiio sin .
253:2849. For .ittributions to Zhu Bin, see: Rui Fiugzhang (8th cen-
tury), comp., Giioxiii fi (A poetry anthology, 744), 3:9b, in \]'SKQS, disc
146, or 'liiii\;ini Idiu^ sfii. sfii-Jioiio (Ting poems selected by Tang

coinpilei"s, ten examples), 2 \'ols. (Shanghai: Sh.mghai giiji chubaiishe.

193S; 1978 edition), 1:178-79; and Pent; Dingqiu et al.. comps., Qiuiii
Tdiioilu, 203:2124-25.

92 Meny; li.io (731-814) is gcnerallv known .is a rather bleak poet, who
was often gix'en to strange and ]arring mi.igery. In 7')2 and .igam in 7'-'3,
lie sat for and fuled the iiiislii (.idxaneed scholar) examinations tiir entry
to the lanks of goeeriiinent, but snceeeded ni passing on his third
attempt m 7''(), wliu h was the occasion tor his composing this straight-
forward, ebullient Lin.itr.iin. The poem lem.iins one ot the best-known
gradii,ition pieces in the C'hinese kingnage.

Tills c]uatrain appears m luimerons traditional .mthologies and com-
pilations. C'ertam cliaracters m e.icli line h.i\'e knc")w n \'.iriants, tonr ot
which ,ire emploxed b\' H.id.i Sh.inren . Although ewi-y wiri.int th.it
appears in Bada's \ersion ot the text ,ilso occurs in at k'ast one ot the
standard soinves, his specific \ersion ot the text as .i w hole is apparentl\-
unique. See Mengjiao (751-814), .Wc/zi,' Doih^yv i-liiji (follected poetry
ofMeng Jiao),comp. Song Minqiu (1019- i(t7^)), 3: 13a, m W SKQS.
disc 1 18; and Feng l.^mgqiu et ak, comps., Qiiaii Taiio slii. 374:4205.

93 khe text selected bv Hada Sh.inren for this scroll comprises the tirst
four lines of .\n eight-hne poem in regul.ited \'erse (liislii) bv the little-
known, late- Tang poet 1 1 Bo (acti\e S7()s-880s). ki wrote the poem
both as congratulations .ind .i light ]est to his triend Pei Ting\ u (actix'e
880s-890s). who passed the n.itional examm.itions tcir the jiiL^lii
(adxanced scholar) degree sometime during 8S| to SS5. w hen the
capital was occupied by rebel forces, and the imperial court was m
exile ill Sichuan Province.

This poem .ippe.irs in at le.ist tiw tradition.il .mthologies, B.ida
Sli.inren eniploved two wiriant characters m line 2, one ot w Inch may
be original to hini, but neither ot w Inch substanti.illv changes the
meaning of the line. All standard sources print the entire eight-line
poem, .iiid not just the tirst tour lines, as ciuoted by Bada Shanren. See:
Wang Dmgbao (870-after ''54), coiiip.. 'liiiio (C'ollected sayings

from the Tang dvnast\'). 3:8b, in ll'.S7\Q,S, disc 1 13; ji Yougong { jiiislii
1121), comp., Ihiioslii jislii (Tang poems and rel.ited anecdotes),
6l:4b-5a, in U SKQS, disc Ih2: and Peng I9ingqiu et ak, comps.,
Qiiivi Ihiio sill, (i()7:763(-)-37.

94 In line I.Tongli.ing (Bronze Bridge) is the name ot a location in
Sichuan Province and stands here tor the province as a whole. The
'T^urple Palace" in line 2 is the Chinese name tor a constell.ition that
sui"i-ounds the pole star and is the residence ot the celestial emperor.
Accordingh. the term is often used ,is an alternatu'e name tor its terres-
trial counterpart, the residence ot the Cdunese emperor on earth. While
the celesti.il emperor w.is served b\' immort.ils. the Cdiinese emperor
was served by officials selected troni the r.iiiks ot successful degree can-
didates.The "list of immort.ils" in line 2 therefore signifies the roster ot
successful candicTites m the n.ition.il examinations, nianv of w hom w ill
receive positions at court or other government appointments. In sum,
the tour lines congr.itul.ite kei 1 ing\'u on his successful completion of
the exams, which will sureK' le.id to ,i glorious career.

ENTRY 29, Jddc Hnivpiu Blossoms and Excerpt from rlic
"Scqm l 10 rlu' lrciUisc on Gi/Z/ij/c//'//)' "

95 This hanging scroll is composed ot two album leax es mounted one
abca\'e the other: a painting of jade hairpm blossoms on the bottom and
.1 leaf of calligraphy on top. The subject of jade hairpin flowers and the
text of the calligraphv leaf have no ascertain. ible thematic relationship.
While It IS not know n if the two album le.ives were originally paired
together or were ]oined at .i later time, this incongruity between text
ancl image is not unusual in Bada's works. The onlv clear relationship
between the two le.wes is the coniplementai v style ot brushwork, m
which both the painting and the calligr.iphy were executed.

In Western botanical nomenclature, the jade hairpm flow-er (yiiziiii-
liiid) IS identified .is either I lo^lci sichoLliiiiui, or Ho^ht i>l,iiihioiiiC(i.Asi'lu i<.
Prior to opening, its tnbul.ir w hite flowers resemble the j.ide ornanrents
w orn as h.urpms in the coiffures ot pal.ice I. idles, from w Inch the
Cdunese name derives. Blossoming m the eighth lunar-month, which
generallv corresponds to the period from earlv September to early
October, it was pnm.irilv culti\'ated as an ornamental garden plant tor
Its bro.id .ittr.ictix'e le.ix'es .iiid sweet-smelling flowers. In keeping with
the .iutumn season. B.ida Shanren's painting also shows a bunch ot
chrN'santhemums in the upper right corner.

khe |,ide h.iirpm seldom serx'ed as the pnniarv focus of paintings,
though Bada Shanren chose to explore the subject on more than one
occasion. For fix'e other p.iintings ot the ]ade hairpm flower m his sur-
vi\-iiig corpus, see Wang Zhaowen. ed., Bnihi sluiiiivti qiuiiiji. 1:24 (cat.
no. 2; leaf 7, undated); 3:500 (cat. no. 130; hanging scroll, IdOO); 3:682
(cat. no. 0; leaf 5. und.ited, with a poem on the subject): 3:722 (cat. no.
18; hanging scroll, nnd.ited); and 4:767 (cat. no. 45; leaf 4, undated).

96 In his discussion of these two album leax es.Wang F.ing\ u noted that
the sign. iture "Hevuan" appears oiiK" on works from the last three years
of Bada Shanren's life, 1702 to 1705. He also conjectured that the two
le.wes mounted on this h.mging scroll once belonged to a larger album
of mixed painting and calligraphy, but w as unable to identitv .1n^' other
surviving leax'es. SeeWaiig Fangyu, Bada Sliaiuiii jinliii ji , 2:50-51; and
Wang Fangvu.'VBada Shanren shi shijie" (Explaining the poetry ot Bada
Shanren), in Biii/.i Sluuurii luiiji. ed.Wang Fangyu, 1 :353-54, note 5.

97 The sciurce of Bada Shanren's quotation on this leaf is the opening
passage to the chapter "Copving" {ii\t) in the .\/( sliupii (Sequel to the
treatise on calligraphy) by the Southern Song dvn.isty calligrapher and
poet Ii.iiig Km (ca. Il55-ca. 1235). Jiang's chapter begins with the fol-
lowing statement: "It is \-ery easv to tr.ice iiiiii) calligraphv. tliiipnoi
Tdizoiio of the Tiiio dyihi<ry mj/J, 'He Liy \ Meiio upon the papei aiul sat
XiiViiii iiiulci his Itiiisii.' so ,is to lididtle Xiao Ziyiiii (translator's italics). But
when one is just beginning to stud\' calligraph\', one cannot do other-
wise than to trace, both to exercise one's hand .iiid to facilitate ultimate
masterv." In other words, [laiig Km qualified the Tang emperor's dis-
dainful criticism of Xiao Ziyun (see below) by stating that tracing and
copving the w orks of earlier masters were neces,sary steps in learning
the art of c.illigr.iph\. See |iang Kui, Xii shiipii (sequel to the treatise on

calligraphy), in Msliii coiiobiivi (Compendium of writings about art), ed.
Yangjialuo, vol. 2 (Taipei: Shijie shuju, 1966), 5: and for a previous
English translation, see Chang Ch"ung-ho and Hans H. Frankel. trans,,
71('() Chinese Tivdtiscs on Ciillii^hipliy (New Ha\ en:Yale Uni\'ersity Press,
1995), 25. For more on Bada's own approach to copying, see catalogue
entries 6, 2(1, 31, and 32: and notes Id, 67, 1 02, and 103.

98 As stated above, most ot the sentence inscribed on this calligraphy
leaf is quoted directh' troiii |iaiig Kui's Sc<iiiel lo the licdlise on
Ci////ij/i//'//)'. Within that passage, Jiang m turn i.|uoted a decree (:hi) tra-
ditionally attj-ibuted to Emperor Taizong ot the Tang d\ nasty (reigned
62()-4''), which IS appended to the biograph\' in the jni sini (History
ot the liii dvnastv) ot the emperoi's ta\'orite calligrapher, Wang Xizhi
(ca. 303 — ca. 3<)1 C.E.).Taizong's decree extols the calligraphy ot Wang
Xizhi and disp.irages the stylistic lineage represented b\ Xiao Zn im
(486— 54iS), an othenvise acclaimed calligrapher who served at the Luiiig
dynasty court and ot'teii tilled imperial coiiimissions. The emperor's tiill
statement condemning Xiao Zi\ iin reads: "Ziyun emerged more
recently as a calligrapher and his t.inie dominated the area south ot the
Yangzi River, but in realit\ he w as b,irel\ able to \\ rite calligraph\ at all
and did not lia\ e the air ot a real m.in. Column after column ot his \\ rit-
iiigs looks like wriggling earthworms in the spring, and character alter
character looks like coiling snakes m .lutunin. I le Liy U lino Mono iij^on ilie
papei dihl sal XiiVan iiiniei //^ |tr,inslator's it.ilics|, but though he

wielded ,1 bi'ush ni.ide troin the tur ot a thousand rabbits, he did not
possess the "smew ' (jin) ot e\ en a single hair, and though he gathered the
fiber from myriad tields ot gram, he could not .icliie\'e e\'en a moiety ot
'bone " (i;//j.To proclaim his virtuosit\' when such was the case, isn't his
tame wideh' oxerblow ii?" [udgmg trom the full passage. Emperor
Taizong's decree primarily addresses the qualities ot brushwork reterred
to 111 Chinese as sinew (jiii) and bone (on), neither ot which were pres-
ent, in his estim.ition, in Xiao's calligraph\'. Despite the emperor's specitic
application, however, later writers such as Jiang Kui borroyved the phrase
in question simply to describe the act of copying. See Fang Xuanling et
al., comps. ,_//// .,/,//, 80:2107-8, esp. 2108.

In training his criticism ot Xiao Ziytin, Emperor Taizong reterred to
two other individuals: Wang Meng (309-347 c .E.) and Xu Van Wang
(lOtli or 7th century I3.C.E.). Wang Meng achieved not,ible success as a
calligrapher, especially tor his clerical and draft-cursive scripts, but it is
said that while he succeeded m captui ing the external forms of the
characters, the smew (////], and bone (tji/), ot his calligraphy were
impertectlv expressed. The tirst part ot the emperor's statement ("he lav
Wang Meng upon the paper ") tlieretore disp.irages Xiao Ziyun as a
mere copyist.

The name Xu Yan reters to King Yan ot the ancient state ot Xu (Xu
Yan Wang), who may or may not have been .i re.il histoi ical tigure. In
the context ot Taizong's decree, the only relevant, albeit indirect, con-
nection between Xu Yan and the ,irt ot w riting is app.irentK an e.irh
expl.ination ot his given name, "Yan" (to bend, bow, or recline), which
states that Xu Yan was born with smews (jin), but without bones
nouns that were later used metaphorically to describe certain inherent

qualities of both calligraphic brushwork, as mentioned above, and per-
haps writing brushes as well. If this analysis is correct, then the allusion
to Xu Yan in the second part ot the emperor's statement ("and sat Xu
Yan under his brush") reters to weak and deficient qualities in Xiao
Ziyun's brushwork.

Taken together, the tull cl.iuse ("he l.i\' Wang Meng upon the paper
and sat Xu Yan under his brush") thus applies to a tracing cm- copy of a
prexaous master's calligraphy that, while accurate in its external features,
Licks the coherent internal structures ot the original work. In other
words. Emperor Taizong was criticizing Xiao Ziyun as a mere copyist
w hose work suttered trom sloppy execution, [laiig Km, on the other
hand, w hile he did not contest the emperor's exaluatioii ot Xiao Zn un.
simply coiiiinented that copying the tornier masters, even poorly, is a
necessary part ot the learning process.

Follow mg the quotation trom |iang Kui's treatise, Bada Shanren
added three tinal char.icters to the text .is .i kind ot closing remark. The
three-character phrase translated as "and such people " is Bad.i's onh'
original contribution to the text, and its precise rekitionship to the rest
ot the sentence is typically ambiguous.

Wang Fangv'u located a second pair ot album leaves (mounted as a
h.indscroll) with a painting ot .i plum tree on one leaf, and an acconipa-
inang leaf ot calligraphy th.it be.irs an identical text, signature, and seal
.IS the present leat. He judged this second calligr.ipln leaf to be a tor-
gery. with .ill elements copied directly trom the present work; see Wang
Faiigvu, Biidii Slidinvn loslni ji, 2:74-75.

ENTRY 30. (A-niplct

99 For a discussion ot the calligraphy in the present couplet, see Wang
Faiigyu. Biiiio Slionnii jasint /;, 2:43. Bada Shanren rarely created cou-
plets, or at least tew li.ix e sur\ i\ ed. One extant couplet, belonging to the
Shanghai Museum ot Art. is an important comparatne example ot
Bada's work m the style of running script seen here. While the Shanghai
w ork IS smaller than the Freer example, it too employs five-character
lines and three of the same characters as the Freer couplet; see Guo Zixu
et al., eds., '/Jionoouo sliufa quanii (>4. Qinoiiiii: Zliii Da, Sliiroo, Ce/zy Xion,
Gono Q;'//i_\iii(> (Complete Chinese c.illigraphy 64. Qmg cfynasty: Zhu
Da, Shitao, Gong Xian, Gong Qmggao) (Beijing: Rongbaozhai cliuban-
she. I'>''<S). 142 (plate 31) and 300-301 (comments). Two other published
examples ot couplets by Bada Shanren are w ritten m cursive script; see
Wang Zhaowen, ed., Bada sluiinrn qnanji. 2:232 (cat. no. 70; five-charac-
ter verse) and 461 (cat. no. 120; sewn-character verse).

The exact meaning ot the two lines is elusive, and the current trans-
l.ition represents merely one possibility:

Line 1: During the Eastern H.in d\nasty (25-220 C.E.).the
"liiimort.ils' Cdiaiiiber" was an alternativ'c name tor the imperial
libr.irw w here schol.irs and writers were trequently assigneci during
their serx ice at court. The building derived this name tl-om the many
texts on esoteric 13aoisni that were housed there .ilong with works on
histor\' and other matters. The building was cittici.ilK' known .is the
Dongguaii (E.istern lower). B.id.i ma\ li.ixe been drawing on this

rcterence to add prestige to his description ot .\ libr.irw (luer.ill\ :

charts, oi' pictures, and books).

Lnie 2:The fu"st two cliaracters. .\7;,///(/iii/, arc an abbre\'iation tor:
Taishan (Mount Tai. ni Shandong Province), easternmost ot the tive
sacred mountains: .ind the coiistcll.ition Heidou (Northern Dipper).
Since at least the ninth centur\: tlie Ldmbmed term (Mount T.ii and
Northern Dipper) has been used to iiiciicate an indix iduah to w hom
people look up ,is .1 p.iiagon.

The term "Southern C apital" ina\ refer to the cit\' ot Naiichan|j;
(Jiangxi Province), where Bada resided 111 his later \ears. In 959
Nanchang was design. itecl a second imperial capital under the Southern
Tang kingdom (937-75) and was gi\-en tlie otticial name. Southern
Capital. See Zhu Yulong. conip.. U 'liiLv >lii'^iio l^iiio-licii iii.iiihiiio
(Chronology ot region.il .idniinistr.une districts during the Five
n\nasties aiidTen Kingdoms period) (Bei]ing: Zhonghua shu|u. 1997).
448 and 452, note 7.

ENTRY 31. Poem hy\iin F,iiio

100 The Tang dynast)' poet.Yan Fang (early to mid-Sth century), w rote
this eighteen-lme poem on a visit to Deer Gate Mount, 1111. m 1 lubei
Prcwmee, where .in ancient recluse once lu'cd (see note |n|,]ines 1-2
and 5-6). Relatively little is know n .ibout the lite and career ot Y.in
Fang; however, all tive ot his extant works are descriptive landscape
poems tocusmg on recluses. Bacia Sh.mren s rendition ot Van Fang's
poem difters in several significant details trom the \ersicins found in
standard anthologies: see Ym Fan (active mid-8th century), comp.,
Hcyiic // (C'ollection ot poems by eminent spirits ot the rivers
and mountains. 753), in liiiionii xiinii /,'((/(,' .s///, ^lii:lioiio (Tang poems
selected b\' Tang compilers, ten examples), I : II 4; [i Yougong, comp.,
Tivi'^ilii ji^lii, 2(>:(>,i-b, in I I'.SK'Q.S, disc Ifi2; and Peng Dingc]iu et al..
coinps., Q\hui lluio sill. 253:2851.

101 Lines 1—2: Pang Gong, also known as Pang Degong (late 2d — early
3d century c:.E.), was a poor recluse, who lived during the troubled
years at the end ot the Eastern Han dynasty (25-220 t .E.). Despite rec-
ommendation, he refused all official rank and salarv and sustained a
happy but hardscrabble existence as .1 tarmer.To escape the d.mgers of
the times. Pang dis.ippeared with his tamil\- into Luinensh.in (Deer
Gate Mountain; see below) and was nex er seen again. For Pang Gongs
biography, see Fan Ye, comp., Hon Hiiii <liii (History of the Eastern Han
dynasty, 25-220 c'.E.) (Beijing: Zhonghua shu]u, 1965), 83:277(1-77;
and Alan J. Berkowitz. Rittcnis of DiiciK^iH^ciiiciil : tlic Pnu ticc iiiitl Poi tuiyiil
oj Rcchhioii ill n.iiily Mcdicrdl Cliiiui (Stanford: St.intord University Press,
2000), 124-25.

Lines 5-6: Deer Gate Mount.iin (Lumeiishan) is located about
twentv kilometers southeast of modern Xiangfan. Hubei Province.
According to tradition. Pang Degong lived on the eastern slopes near
Deer Gate Temple, which was built during the Eastern H.in th n.istN in
the reign of Emperor Guangwu (reigned 25-57 C.E.),and where there
is still a shrine in his honor today. Two large stone statues of deer

tl. inked the entrance to the temple enclosure, trom which the mountain
subsequently took its name.

"Vallevs heaped with gems" is a stand.ird tix:>pe in Chinese eremetic
literature used to describe the remote habitations of recluses and
immortals. Not onlv is the terrain fantastic and wild, but those who
dwell 111 such places are so inditferent to wealth ,ind soci.il station that
piles of v.iluable gems are left ungathered on the ground.

l ine 8:The proper reading ot the third character ot this line is
uncertain: the translation "surge" derives trom the character that
appears m this position 111 most standard editions: piiio (to float, drift,
be tossed about).

Lines 9— 10: |iao\ uan (fiao Plateau) is the name ot a mountain
located in the ancient state ot |u (ne.ir modern |nxian), in southeastern
Shandong Pro\ ince. Local people were .itraid to .ipproach the brink ot
the mountain because ot its umisu.ilK' precipitous drop, until cTiie day a
m.in walked oxer ,ind c.ilniK stood with his heels c)Ut over the edge.
Commentators ncited that his ec]u,imniit\' in the face ot d.inger
eman.ited trom the principles ot humaneness and righteousness that
he held in his breast. See Fan Ye, comp.. Hon Hiiii sliii. ->'>: |9 |7, ncite 5.

Liili.inghuo (Lii Bricige Gorge) is located 111 the ancient state ot Lu,
near modern Tongsh.inxian, in ncn thw estern |iangsu Province. The
gorge contains a natural stone arch, hence its name. A large waterfall
drops hundreds ot feet into the gorge, reemergmg as a tumultuous
foaming stream. Here, the sage Ctintucius cince encountered a man
sw imming c.ilinb' through the wild .ind perilous waters, ancH asked how
he managed to achieve this teat. A native ot the region, the man replied
that he simply trustee! to destiny and followed the Way (ilao) ot the
w ater. See Yang Bo]un. comp., L/c;; /hlii, 62-64; and A. C. Graham,
trans.. The Book of Licli-rzii, 44.

Line l2:The descriptive bmome iiiiaiiiiuni (translated here as "tender
and low"") .illudes to a poem [Mao #230) 111 the ancient Chinese
anthology, the Sliijiuo (Classic ot poetry), which expresses the weariness
ot a tra\eler. Dictionaries define the bmome as describing either the
appearance, or smgmg, of small bircis.

102 Bada Shanren states explicitly that he wrote this leaf to "copy" (liii)
the style of the Ming dvn.isty calligrapherWang Chong (1494-1533).
■ilso known as Yayi Sh.inreii; however, the running-standard script Bada
employed here has no stylistic precedent among Wang's known w orks,
liad.i's usage ot the word "cc:)pyiiig" is problematic and clearly means
something other than the usual definition. For other examples, see cata-
logue entries 6, 20, and 32; and notes 10, 67, 97, and 103. For further
discussion ot B.ida's use ot the word "copying, " see Wang Fangyu."Bada
Shanren de shuta," in Biulii SIhiiiicii iiiiifi. ed.Wang Fangyu. 1:385 — 98;
Wang Fangyu, "Bada Shanren de shuta," 111 Wang Fangyu, Badti Slidiiicii
liisliii ji, 2:69-70; and Bai Qianshen,"Cong Bada Shanren Im'Lantmg
xu' lun Mmgmo Qmgchu shuta zhong de Imshu guanniaii," 462-72.

During the mid-twentieth century, the collector Zhang Daqian
owned the original eight-leaf album from which this calligraphy leaf
was taken. At the tune, the undated .ilbum contained tour leaves ot
painting paired with f uir unrelated leaves ot calligraphy. Three ot the

texts, incliidiiit; the poem here h\' Yan Fang, are Tang dynasty poems
concerning visits to a place called Lnmenshan (Deer Gate Mountain,
see above), hi the origin, il .ilbiim, the cin rent leaf w as paiied \\ ith ,i
painting ot magnolia blossoms. See Zliang Daqian, Diijciioiiiiio miiioii,
vol. 3, plates 37-40, esp. plate 37.

Wang FangN'u dated Zhang Daqian's albtim on the b.isis ot st\ le to
ca. 171 12. According to Wang, the Yan Fang leat \\ ,is remox ed from the
album b\' Zhang, w ho sold it to his tiaend Zhii Sheng/li.u (c,i.

l')7(l), who Liter sold it to Zhang Li.iiKiing (2()th ceiitur\'), w ho
m turn sold it to Wang Fangyu and Sum W.ii. See Wang Fang\ u, "Uada
Shanren de shut, i." in Biuhi Sli,iincii liiii/i, ed.Wang Fang\'ii, l;3'',S;and
Wang Fangvu, Biiilii Sluniicii jashii ji, 2:41,

At some point .itter lea\ ing Zh.ing I ).K]iairs collection, the current
leat w.is included in .i iiine-le.it calligr.ipin .ilbuiii, se\ en other leaves
ti-om w hich .ire m tin,' F reer collection: see c.it.ilogue entries 10, 11 (two
leaves), 13, 14, I3,,ind lo. For ,\ complete list ot that .ilbiiin's contents,
see Wang and B.irnhart, \Lnui oj ilic Loiih (uinlcii, 2(>') (Appendix C,
no. I0(>).

104 In several critical places, damage to the paper has led to losses in
the texts ot Huang Daozhou's two letters, and without further informa-
tion regarding his rel.inoiiship w ith the intended recipient(s) of these
imssiws, as w ell .is the immediate context of some remarks made
w ithiii them, ,in\ tr.insl.ition can onl\' be speculatiw.

The expression "tlock ot geese" alludes to a stor\' concerning the
great early calligiMplier. Wang Xizhi (c.i. 303-361 e.E.). One d.i\ Wang,
who W.IS vei v fond ot geese, he.iid that .i IXioist master living m nearby
Sh,in\ m (modern Shaoxing, Zhe|iang l'ro\ iiice) h.ul raised a pai ticu-
l,irl\ tiiie tlock. He went to see the geese .ind was \ery impressed, aiui
w. lilted to strike a deal with the owner.The Daoist master refused to
sell, but <ittered to give Wang the entire tlock m exchange for him writ-
ing out the text ot the Dijoilcjiin; (Cdassic of the Wa\- and its powei ), the
seminal text of philosophical I ')aoism. W.mg happiK' complied, then
caged up the birds, and returned home cxtremeK' ple.ised. In time, the
expression "'tliick ot geese" came to indu .ite pa\ iiient tor ,i work ot cal-
ligraph\'. For the story ot W.mg .Xizhi ,ind the tlock ot geese, see Fang
Xu.inliiig et .il., comps., //// .^7^//, S0:2 100.

ENTRY 32. Copy of Two Lcitcis by Hiiiiii<^ Diiozlioii
103 For a briet discussion ot H.id.i Slianrens c.illigr.ipln- m these le.ues.
see W.mg Fang\ u. liihl,i SIhiiiicii la^lm ji, 2:3''. Both Ic.in cs cont.im
copied excerpts troiii pm ate letters sent Xo uiiknow n recipients b\'
Hu.iiig I )aozhou ( 1 3iS5— 1 04(i), also known .is Shizhai.An important
personage .it the end ot the Ming dynasty, Huang achie\ed tame tor his
poetry, painting, ,ind especiallv calligraphy, in which he established his
own mdividu.il stv le. A pill.ii- ot moral rectitude, he w .is ,ilsu a st.iunch
Ming lowilist, w ho helped to Ic.id resistance .igamst the Manchu con-
querors until he W.IS killed during internecine struggles .iiiiong wirious
Ming pretenders. For a Chinese scholar ot 13,id,i Sh.mreirs age aiul per-
sonal circumst.incc, Huang Daozhou was a tlgure of heroic dimensions,
which undoubtedly lent a certain allure to the stud\ of Ins calligraphy.
In the case ot these leaves, however, although he was ostensibly ccipymg
(lin) Huang directlv, L5ada Shanren chose to employ his own style ot
runniiig-cursive script, which possesses none ot the particular qualities
that characterize Huang Daozhou's distmctue st\le. Bada's usage ot the
word "copying" is problematic .md clearK means something other th.iii
the usual detiiiition. For other examples, see catalogue entries 6, 2o, ,ind
31; and notes 10, 67, '^'7, and 102. For examples ot original letters w rit-
ten by Huang Daozhou, see Zheng Wei et ,il.. eds., Htidin^ Dao^hoii iiioji
ihn^iiiiii (Overview ot Huang Daozhou's c.illigr.iphy) (Sli.inghai:
Shanghai reiimin meisliu chuh.iiishe, 1992), 104-6, 123-46, and
166-68.

These two leaves most recently belonged to a mixed .ilbum ot ten
leaves assembled troiii disparate sources, six of painting .iiid tour of
calligraphy. Five leaves, three of painting and two ot calligraphy, are
included elsewhere in this volume (cat. entries 3, 6, 7, and 33); one le.it
IS unpublished; and the two other leaves (respectively showing a cat .md
a chicken) are published in Wang and Barnh.irt, Mii^ici of ilic Lotn>
Cardcii, 108-9 (cat. no. 10, fig. ,S4).

105 File ni7;.v/j// loiiohdo ((ieiier.il liistor\ ot institutions and critic. il
examiii.ition ot documents and studies) is a large, miiltn Dkime encvclo-
pedic liistor\' ot (.'hinese gowrniiient institutions trom e.irliest times to
1204. compiled b\ the Yuan d\ n.ist\- scholar Ma Du.inliii (1234-1323).

The tull title ot the book translated here as "lllustr.ited Scripture" is
unknown due to losses in the original p.iper .md text.

ENTRY 33. LdlldHiipc dftcr Ni Zdll

106 The stark mk-l.indsc.ipes ot the Yuan dvnasty painter Ni Zan
(130(1-1374) held .1 strong appe.il tor main' se\eiiteentli-centur\ artists
ot the kite-Ming ,ind earK -Qing dvnasties, especialK' Dong Qicli.mg
(1335—1636) .md his followers such as Bad.i Shanren. While both the
dry, crumbly ink .iiid small, open pavilion at the lower lett ot this work
are strongly reminiscent of Ni Zan, the painting also clearly illustrates
the locise structui .il relationships .md unconventional use ot space that
tvpity works trom Bada Slianren s later vears. For briet comments on
Bada's .ittraction to Ni Zan and a discussion ot the present work, see
Wang .md L5.irnh.irt, .\/(Lsfc; ('/"//(c Loliis ( '.dulcii, SO-S I ; and Wang
FaiigN u, Bada Sliaiiicii tasliii ji, 2:34—55. For .mother work b\- Bada in
the style of Ni Zan, see catalogue entry 12, leat 6.

This double le.if most recently came trom .i mixed .ilbum ot ten
le.u'es .issembled trom disparate sources, six ot painting .md tour ot c.il-
ligniplu'. Six leas'cs, two of painting and tour ot c.illigr.ipln'. are included
elsew here in this volume (cat. entries 3, 6, 7, .md 32); one leat is unpub-
lished: .md two other leaws (respectiwlv showing a cit .md a chicken)
are published in W.mg and Barnh.irt, MiL^Ici oI iIic Loni.^ (uinlcii. IOS-9
(cat. no. 10, tig. 54).

164

165

-t^Y 4^ >

ill >

4- ^Ji

^ ^ ^ ^'^''^^^^

. ,-1 Documentation

It

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CHINESE DOCUMENTATION

ENTRY 1. (F1998.53.1-.8)

fTTT. ±^ 3i|l

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s • ti Amit » SAt^iSiM ' S'»^f#i2Sfb • af:e,ii-K • mmr-
ii9iEn-A

ENTRY 7. (F1998.27)

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ENTRY 8. (F1998.54.1-.15)

mmmm mw^m

^ AA^Ai#«ffl = \^mmmm "

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HJ i*5:ftA^En)
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rJ*Hft'#r^Tl*J (*ia*EP)

171

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(F1998.36)

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172

sum

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ENTRY 14. (F1998.35)

ENTRY 15. (F1998.33)

ENTRY 16. (F1998.34)

+Ba-A • E0a-5 :

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HIS °

^iS'bfrMt ' mmm - mm±.m:^^ • tmmm^itL • mm
^mmm ' mm^nmm » m^mkmm - - Pf thh ■■
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ENTRY 18. (F1998.43)

imn^m • ma^its • @i*^tiS • f^iiifA«cis °

AJ (aiftSEP)

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ENTRY 19. (F1998.49)

H'l ^ AA^A <(x)^H» ° |ffiA^!^i^p°n ° Aiaf:ffi« °
l^ii ^ S^PiffiPiSm • AA^A °

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I^EPffiA: r^SgJ (**^7EP) ^ rAf-g±J laxT^EP)

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?S#??-*: r#?f'DKJ (*i«*EP)
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ENTRY 21. (F1998.57)

leiT^ep)

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ENTRY 22. (F1998.42)

iKm A -

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iiwmij- r?i^j (sxtt-ep) ' rAf-g±j i^xt^ep)
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H«#ii^wB: r^A**@i.^(,ffiffl§E ' r-mim^xwm - m

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ENTRY 25. ( F 1 9 9 8 . 3 0 .1 - . 3 )

ENTRY 26. (F1998.46)

t#!aSSp,llil ^ft

^ mm • AAiiiAS °
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nifiii iiii

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if m?# °

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: A±ihk '

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iT^epi

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ENTRY 29. ( F 1 9 9 8 . 5 2 .1 - . 2 )

ailJ (*3i:ll7^EP)

ENTRY 30. (F1998.39.1-,2)

i^en^T^: r.^i/ij (sxt^ep) ^ faaojaj (sxr^ep) - rf^iHJ (*

i77=p— 7^: r:ftlf!ffi)lJ (etT^ep^T©)

f^#E7^: r?S^*SJ (*5;ffilIEP ^ ±e) ^ ril^:g»iJ (6i*Ep:±e)^

ENTRY 31. (F1998.37)

^ fc^fiSL^A* ' AA^A °
(*s;7^EP)

A » AAlilA* °

iten-77: ami (*i7?EP)
iis9iEn=77

^<A^ffi^: rAM^il/raR^^SfiS^fll.lliJ (.*Xft7^En) - fJ^Hi

#^tf J (fiiS^EP)
ft« — 77: f'itMJ (fcXiiEP)

ENTRY 32. ( F 1 9 9 8 . 3 8 .1 - . 2 )

□□□a^it^ii [it] Milt =

icIH ^ ' AA^A "

i^en-77: r + f#J (*S:*^rEP)

i77=?~77: r77J r=?J (*3i;aJ*77EP)

its— 77: r;t»j (**7?En)

ENTRY 33. (F1998.59)

mmwrnu

■itm-1j-- Tits J (*i^En)

Appendices

SIGNATURES
SEALS
CHRONOLOGY
GLOSSARY
BIBLIOGRAPHY
CONCORDANCE

Appendices

SIGNATURES
SEALS
CHRONOLOGY
GLOSSARY
BIBLIOGRAPHY
CONCORDANCE

SIGNATURES

7 A "Hb. 10 /\

F 1998.37

SEALS

15

16

Slicshi

F 1998.56.2

1 692

Not deciphered
F 1998,54.3
ca. 1693-96

a

F1')MS.54.6
1696

18 W iSJ

KV (/(■ .'•licii.xiii
Fl WS.34.7
ca. 1693-96

19 m

20

(jiii'iii
F 1998.41
1698

F 1998.45
ca. 1696

k±

Hdda Shdiu'cii
F1998.45
ca. 1696

\

22 Not deciphered
F1')'W.41
ca. 1698

23

Bii(/i/ SliiUiicii
F I '^98.37
ca. 1702

24 Hfnf

Hcyiiaii
F I 998.37
ca. I7U2

25 Hjl

F 1998.57
ca. 1699

26

Lii

F 1498.51)
ca. 1699

27 R la

Zliciiiliiiin;
F 1998.50
ca. 1699

28

Sliidc
F199.S.37

ca. 1702

185

CHRONOLOGY OF CHINESE DYNASTIES

Shang dynasty, ca. 1600-1050 b.c.e.
Zhou dynasty, ca. 1030-221 b.c.e.
Qin dynasty, 221-206 b.c.e.
Han dynasty, 206 b.c.e. -220 c.e.

Western Han dynasty, 206 b.c.e. -8 c.e.

Eastern Han dynasty, 25-220 c.e.
Period of Division, 220-589 c.e.

Three Kingdoms period, 22(3-265 c.e.

Western Jin dynasty, 265-317 c.e.

Southern Dynasties, 317— 589

Eastern Jill dynasty, 317-420 c.e.
Liu-Song dynasty, 420 — 179 c.e.
Southern Qi dynasty, 479-502
Liang dynasty, 502 — 557
Chen dynasty, 557—589

Northern Dynasties, 386-581

Sui dynasty, 581-618

Tang dynasty, 618-907

Five Dynasties period, 907-960

Southern Tang kingdom, 937—975

Song dynasty, 960-1279

Northern Song dynasty, 960—1127
Southern Song dynasty, 1127-1279

Yuan dynasty 1279-1368

Mmg dynasty, 1368-1(144

Qmg dynasty, 1644-1911

Republic period, 1912-present

Republic ot China, 1912 — present
People's Repubhc of China, 1949-present

186

GLOSSARY

PEOPLE

An Shiteng ^ jtll (155S-after l()3())

B. id.i Shanren /\:;'v|l| A, ( U.26-17()5)
lin Juyi e/g^^ (772-S46)

Baoyai ^/H.seeWu Chenyan

C. C.Wang, see Wang jiqian
Cai Yong (133-192 c.E.)
Cangzhen ^ iH , see Huaisu
Cao Zhi Will (192-232 c.E.)
Chen Dmg P||LffJ (17th century)
Chen Shun i|: (14S3-1544)
ChenTaixue P^jv^ (active ca. I hth century)
Chen Zi'ang M^pf^ (661-702)

Chu Suihang (596-^58)

Chuanqi fl|^ (monk name of Bada Shanren)

Confucius, Kongzi -fl^-f- (or Kong Qui

fr. 531-479 B.c.r.)
Dai Zhi iScti (active lS2()s-4(ls)
Daya (active early <Sth century)

Dong Qichang MJCii (1555-1636)
Donghng Shengniu (early to

niid-4th century c.i .)
Dong Yuan MM ('-in-'^l 'X^-)
Du Fu f±F| (712-770)
Du Mu t±ft (803-.S52)
Emperor Daizong ot the Tang dynasty

fUR^ (reigned 763-80)
Emperor Dezong ot the Tang dynasty

fU'iMys^ (reigned 779-805)
Emperor Gao of the Qi dynasty, Xiao ]3ao-

cheng ^-Mlri'M)M.f^ (reigned 479-82

c.E.)

Emperor Gaozong of the Tang dynasty

B^'tj^ (reigned 649-83)
Emperor Gaozu ot the Tang dynasty

(reigned 6 1 8-26)
Emperor Guangwu ot the Eastern Han dy-
nasty 'M.MfM^'(. i"\f (reigned 25-57 (..e.)
Emperor Kang ot the ]}u dynasty ^J^'f^"

(reigned 342 — 14 c.E.)
Emperor Taizong ot the Tang dynasty

fn±^. (reigned 626-49)
Emperor Wu of the Liang dynasty, Xiao Yin

{^^^^'ffj (463-549, reigned 502-49)
Emperor Xianzong of the Ming dynasty, Zhu

Jianshen B^M'^^^W (reigned 14f.4-87)
Emperor Xuanzong ot the Tang dynasty

/SS^ (reigned 712-56)
Emperor Yang ot the Sui dynasty

(reigned f.04-17)

Fajue (monk name ot Bada Shanren)

Fang Feng T^H (1240-1321)

Fu Shan fUlil (1606-1684/85)

Fuxi fivil (mythological ruler; traditionally

reigned 2852-2738 b.c.e.)
Gao Yong (1850-1921)
GengWei ^'k'M (active mid- to late 8th

century)

Geshan 1 1 1 (alternatu'c name for Bada

Shanren)
Guo '${'} (surname)

Guo Zongchang g (late Ifith-early

17 th century)
Han Yu (768-824)
Hayashi Heizo (20th century)

He Zhen fSJg (1535-1604)
Hu Yitang S^^JVf; (died 1684)
Huaisu (ca. 725-ca. 799)

Huang Anpmg lir^^ (active late 17th

century)

Huang Daozhou MMM (1585-1646)
Huang Gongwang M'j^'M (1269-1354)
HuangTmgjian (1045-1 105)

Jiang Kui (ca. 1155-ca. 1235)

King Yan of Xu, see Xu Yan (Wang)
Laozi ^-f- (Master Lao, ca. 6th century

B.c.l.)

Li Bo ^fi\$ (active 870s-80s)
Li Liiifu (died 752)

Li Puquan $ifl| (19th-20tli century')
Li She -^'(^ (early to mid-9t]i century)
Li Sheng (727-793)
Li Sixun (651-716)
Li Yuan (active late 8th-early 9th cen-

tury)

LiYuan $11 (died 825)

Liang Fen i^i'jj (1641-1729)

Lm Xiongguang '^^M'/t (1898-1971)

Liu Changqing flJMfP (ca. 7 iO-after 787)

Liu jun gljllrg (462-521 < .e.)

Liu Lmg gljft^ (died after 265 c.E.)

Liu Yiqmg, Prince of Lmchuan U|]l|3iglJi

U (403-444 c.E.)
Long Kebao f|^4ff (17th century)
Longyu |f 3l. daughter of Qm Mugong ^
(Duke Mu of Qm, reigned 659-21

B.C.E.)

Lu Zhi Plj-^ (1496-1576)

Lii ,U (clonkey; nickname ot Bada Shanren)

Ma L:)uanhn MjiimWa (1254-1323)

Mei Ceng (1640-1722)

Mengjiao ./li^P (751-814)

Ml Fu TftiTi (1051-i 107)

Mozi -S-f (Master Mo, ca. 480-ca. 420

B.C.E.)

NaitoTorajiro {^BlIt^XB (1866-1934)
Ni Zan f^Jf (1306-1374)
OuyangXun IJ^PilS) (557-641)
Pang Degoiig iM'i^/xX (late 2ci-eai-ly 3d
century)

PeiTmgyu ^Ji^g (active 880s-90s)
Qian Qi $|;|E (ca. 722-ca. 780)
Qiu Lian (1644-1729)
QiuYueju^BH (active 1717-1734)
Rao Yupu l^^th (l^th century)
l^en'an (monk name ot Bada Shanren)

Kong Qiqi ^I'^SJ^ (6th century B.C.E.)
Ruan Zhan llTtil (ca. 279-ca. 308 c.E.)
Sanzang (Tnpitaka), see Xuanzang
Shancp, l^ince Su (1866-1922;

1863- 1921; or 1866-1927)
Shao Changheng J^f^^tW (1637-1704)
Shaobo g[]fg or ^i^^ (Lord Shao, I 1th- 1 0th

century B.C.E.)
ShenTong \tB (1688-1752)
Shen Ye ijC^f (active second-half of the

16th century)
Shen Zhou rtM (1427-1509)
Shitao J^im (1642-1707)
SumWai (Shen Hui) ftg (1918-1996)
SunTi (ca. 699-ca. 761)

Suo Jing ^if (239-303 c.i:.)

TangYunsong iifgtl' (./"'-*'" li^-+< ')
Tao Hongjmg pl^^AM (456-536 c.E.)
Tao Qian PS)(f (36,5-427 c.E.)
Wang Can iEg (177-217 c.E.)
Wang Chong 3£|| (1494-1533)
Wang Fangyu jUj"^ (1913-1997)
Wang Jin (died 781)

Wangjiqian iBf- (C.C.Wang, 1907- )
Wang Meng fEj§ (309-347 c.E.)
Wang Meng (1308-1385)
Wang Mian £1, (1287-1359)
Wang Wei 3i|| (ca. 701-761)
WangWenxm 3i^'L> (19th-20th century)
Wang Xizhi EEH;^ (ca. 303-ca. 36 1 c.E.)
WangXianzhi ZEfi^: (344-388 c.E.)
Wang Yuan 3£iJ| (1 (-48-1701)
Wang Zai (active mid- to late 8th cen-

tury)

Wang Zhihuan E.^ii (688-742)
WangZhongsi 3E,fJisl (705-749)

Wen Peng (149S-I373)
Wen Tianxung }C9^W --■'<>- ' -■'^3)
Wen Zhengmnig "yCM^^ (1470-155^^)
Wu ^ (surname)

Wu Changshuo ^MiM (1844-1927)
Wu Chenyan ^M^'ii (l(iA3-after 1722)
Wu Hufan ^Ml^ji (1894-1968)
Wu Siqi ^Em- (1238-1301)
Wu Zetian jti'J^'^ (empress, reigned 690-
705)

Wu Zhen (I2S()-1354)
Xi Kang liH (223-2f)2 c.e.)
Xi Shi j?f StS (cMi'ly Sth century b.c.e.)
Xiao Daocheng, see Emperor Gao of the Qi
dynasty

Xiao Shi M'ii (niid-7th ccnturv b.c.e.)
Xiao Yan, see Emperor Wu of the Liang dy-
nast\'

Xiao Ziyun M^'S (486-548)

Xie Ao lit II (1249-1295)

Xiwangmu [53iE£|t (Queen Mother of the

West; mythological)
XuWei fl^ii (1521-1593)
Xu Yan ffjfg. or Xu Yan Wang 3^, King Yan

of Xu (loth or 7th century B.C.E.)
Xuanzang:^;^ (602-664)
Xuege § (sobric]uet of Bada Shanren)
Xun Yu (163-212 c.e.)

Yan Fang f^ffj (early to niid-8th century)
Yang Chunhua (unicientified)
Yang Xian t| [il| (1819-1 S9h)
Ye Dehui ^ \§M ( I .S(>4- 1 927)
Ymg.xue Hongmin fl'P'jA® (1607-1672)
Yue Guang (252-354 c.e.)

ZengGong (1019-1083)
Zhang Daqian Mi^^ (1899-1983)
Zhang Ceng (1685-1760)
Zhang Jiuling (678-740)
Zhang Liancpng ^^^'/h' (20th centiu-y)
Zhang Shanzi ?g#|^ (1SS2-1940)
Zhang Yue ?J||g (667-731)
Zhang Zhi (active ca. 150-192 c.e.)

Zhang Zhihe ?|,^^n (ca. 742-ca. 782)
Zhao Han (active 159()s-after 1618)

Zhao Mengfu (1254-1322)
Zhao Xigu JifpSI ('-■'I- I 170-after 1242)
Zhidun Jig (314-366 c.e.)
Zhou Muwang |S]fi £ (King Mu of Zhou,

reigned 1 00 1-947 b.c.e.)
Zhou Zhimian jSl^M (late 16th-early 17th

century)

Zhu tJ^ (imperial sin nainc, Mmg d\'nasty)
Zhu Bin 4j^t|t; (8th century)
Zhu i5a ^f^y (common name tor Bada Shan-
ren)

Zhu Duozheng Tf^^'ill (1541-1589)

Zhu Moujm Tf^illS (died I (.44)

Zlui Quan (1378-I44.S)

Zhu Shengzhai ^^"M (^'-i- 1902-1970)

Zhu Tonglm 7^|jc§ (possible birth-name

for Bada Shanren)
Zhu Yizun 7|^#flE (l(i29-1709)
Zhu Youhen, Prince Yi fie 3l ^fi: [S TjS (actix e

Ihl5-atter Ui46)
Zhuang Zhou jl±[nj,see Zhuangzi
Zhuangzi (Master Zhuang, ca. 369— ca.

286 B.C.E.)
Zong Bmg '^f^ff] (375-443 c.E.)

PLACES

Beilin i'^^^ (Forest of Steles, in Xi'an
Shaanxi Province)

Chang'an (modern .Xi'an j?f

Shaanxi Province)

Ghangsha -^'fj/ (Hunan Province)

Ghengciu /S^ap (Sichuan I'nn'ince)

Ghenliu l>Mm (Henan Province)

Ghongren ^iZ. (Ji'iiig>^i Piwince)

Gien Temple (Temple of Gompas-

sionate Grace)

Dafengtang ^'^JH^ (Hall of Great Wind-
studio name ot Zhang Dac]ian)

Dongguan (Eastern Tower)

Fengxin ^f/f (Ii'''"g-^i Province)

Guanquelou S|^(or bI)!^ (Hooded Grane
Tower, Shanxi Province)

Hongyai '(Pxl^ (mountain m Xinjian ^fj^
county, Jiangxi Prox ince)

Hongzhou (modern Nanchang p^^,

Jiangxi Province)

Huangzhuyan ^t'TlSl (Ycllou Bamboo Gar-
den: Bada Shanren)

Jianchangtu J^ej/M' (modern Nanclieng
Jiangxi Province)

[lankang^^J^ (modern Nanjing Jiang-
su Province)

[laoyuan S^)^ (mountain near [uxian sf^,
Shandong Province)

[laxmg ^ffl (Zhejiang Province)

Jiegang 'iYM (nearjmxian i^^, Jiangxi
Province)

Jiuquan iU-^ (near Dunhuang Gansu

Pro\ince)
Jn uan [h ilfi (Henan Province)
Juxian gf^ (Shandong Province)
Kuaiji (modern Shaoxmg InS. Zhe-

jiang Province)
Lantian H EB (Shaanxi Province)
Lanting ^-f^ (Orchid Pavilion)
Lmchuan |5gtll| (Ji'^'iS^i Province)
Lingling '^P^ (Hunan Province)
Lumenshan dgnUj (Deer Gate Mountain)
Ltioxang (Henan Pnnance)

Liilianghuo (Lii Bridge Gorge, near

Tongshanxian |[h|lL||^, Jiangsu Province)
Lushun lii^llM (Liaoning Pixwince)
Liitian'an (Temple of the Emerald

Sk\0

Maoshan 5p flj (Iiangsu Prox'ince)
N.nichangj^^ ([langxi Proxmce)
Nanfeng j^g (Jiangxi Province)
Nan]ing pjsJJ^ (Jiangsu Province)
Ningxian J^f^ (Gansu Province)
Pangu (Winding Vallev, Henan Prov-

ince)

Puzhou ^'ji'l (modern Yongji tJcI^, Shanxi

Prc^xMiice)
Qianshan j^lij (Aniuii Pnn'ince)
Qiantang §Ji)g (modern Hangzhou f/L'j'li.

Zhejiang Province)
Qingyuan si '/nl^^^ (Clear Springs Temple)
Qinling (mountain range in Shaanxi

Province)

Shanhuchuan Iff|}fi)3ll| (ne.ir Nmgxian ipf^,

eastern Gansu Province)
Shannan (two Tang provinces)

Shanyin LL|[!g (modern Shaoxmg |p Si, Zhe-
jiang Province)
Shaoxmg |pS| (Zhejiang Province)
Shichengfu HifiS(/^f (Anhui Province)
Shixmg icjSi (Guangzhou Province)
Taihang ;^f7 (mountains m Sh.mxi I'rov-
mce)

Taihu isiiii^ (Lake Tai, Jiangsu Prox ince)
Taishan LL| (Mount Tai, Shandong Prov-
ince)

Taiyuan (Shanxi Province)

Tian]in -j^]^ (Hebei Piwmce)
Tc:)ngzhou iS'j'H (modern N antouLi: i^j Tffl ,

Iiangsu Province)
Wangchuan (Wheel Rim Greek,

Shaanxi Province)

Waiish.iii (Shining Hills, Aiiliui

Province)

11 ';/>,'(■ uiohiiii; HMIt^^S! (Hut for Sleeping

Alone .ind Waking to Sing; Bada Shanren)
Xiangfan (Hubei Province)

Xinchang ^fj ^ (Zhejiang Province)
Xinjian ^/f'JS (modern Nanchang pjsj^,

Jiangxi Province)
Xin)iang (b'^X (river in eastern jiaiigxi l'ro\-
ince)

Xiping (Gansii Province)

Xisaishan (West Pass Hill, near Wu-

xing ^S, Zhejiang Province)

Xnancheng M-'M. (Anhui Province)

Xujiang ^-f'/l. (river in eastern Jiangxi Prov-
ince)

Yangzhou |,%'J'li (Jiangsu Province)

Yanling Xitai )i|p^j5S (Western Terrace ot

Yanlmg, Zhe]iang Province)
Yanshan |p |Ij (county in eastern Jiangxi

Proxince)
Yanta )f(it,| (Wild Goose Pagoda)
Youqnan (niociern [laxing ^S, Zhe-

jiang Province)
Yuevang -|jfp^ (Hunan Province)
Yuhang |^f/t (Zhejiang Province)
Zaitu shantang ]5:5ll-L[M (Mountains Lodge

•mild the Lotus; Bada Shanren)
Zhen]iang $S.jT. (Jiangsu Province)

WORDS AND TERMS

Bada ti (Bada style)

hci {]^ (stele)

Beidou ;[L-4- (Northern Dipper; Big Dipper)
Caodong ^i|nl (sect of Chan Buddhism)
'■'.'/'■"A' fllfl ('^I'-ie of brush)
Chan ijif (Zen)

chcdiaii ^SM (control madness)
(7/1//; l/'f (cedar; Ccdrcia siiiciL^i^^Juss.)
dao )g (the Way)

Dengshe i^ijiji (Lantern Society)
faiihi ("backward strokes")

fain^iao 77 ^ (fragrant grass)
/(■// '/f (divided)

/(/ xiaii ^fH] (meaning uncertain)
j^iiiiiaini tt '-S: (-1 name tor /i)//^'//', see below)
(laiiyii i^)^ (stirred, or moved, by experi-
ence)
};oin> 'g' (palace)

i;ouglnt Xp|j (Ministry of Works)

(jK (bone)

(^iii'ai 1^34 (poh gal.i .md nioxa; seal text ol"

Bada Shanren)
liaitaii<^ J^'^'l (cnib apple; (^luiciioniclcs /iii_'('-

/;i!;/'i/, or A/wZ/o iiiiiioiihilii^)
lino §^ (sobriquet; piietic name)
//(•/// (51 M (What promise did I break? — seal

text ot B.id.i Sh.inivn)
lioii(i (it (flood; bi"i)ad, wist; abbre\'i,ited iKune

tor Nanchang?)
hiia (to transtorm)
liiia ^ (painting)
liiiaiigzliii (yc'llow bamboo)

//' g[J (account, record)
Jic [j^ (stairs, step; iMiik)
jiling '^pB (wagtail; Mohnilla iliiiiciisis)
Jin ffjj (smew)

jliislii i^ib (advanced scholar degree)
//// g (old)
///// (commaiicierv)
he dc ilicii.xiaii (if f'f fFflflJj (immortality is
achiewible; seal text ot Bada Shanren)
/;// (to copy)
/// II (donkey)
liislii f|lg^ (regulated verse)
iiiidiiiiian (tender and low)

///// ^ (to trace)

piao (to float, dritt, be tossed about)
qiii ^ (zither, lute)

Shangqing (Highest l-'urity; a school of

medieval I ).ioisni)
.<liaii<liiil 1 1 1 /Jv (landscape; or hills and streams)
>/;<)(')'(?() '^J^ (peony; A)C(>///'<i lacti flora)
slicslii (involved in atfairs)

ilntlnia toiigyiiaii (calligraphy and

painting come trom the same source)
lanoli (sweet pear; Pyiiis lictiilifolia)

ticxiicpai l|l[')''pi)jS (model text tradition)
toiigkii till 55 (to vvail in anguish)
tusliii (charts, or pictures, and books;

library)

uiaiigsiiii (princely descendant)

xic ^4 (slanting, leaning, tilted, oblique, side-
ways)

Xijiain;)'iyaiio ii-aii'^iiiii jg^E'^P^iEl^ (De-
scendant ot Prince Yiyang of Jiangxi)
xiiiliiia 'L^ljl (delme.ition ot the mind)
.V//I7// W (day lily; Hciiicioialli:^ julva)
yaiio hiiaiig f-f- 5i (to teign madness)
yc tli (copula)
)'/' ^ (emphatic particle)

Yiyang 'X.f'^j branch ot the Ning prince-
dom

yoiixiano (Minister ot the Right)

yiiamhi (great ambition)

yiic \E\ (to say, be called)

yiizaiilnia JiWTE (i'li-^c' hairpni flowers: Hos-
la sicholdiaiia. or Ho^hi pliiiila'^iiica.Asclicrs)

zliiiio J\i (upi ight, true; pi'oper, correct; prin-
cipal, chiet)

;///■ 'r|lj (decree)

:lioiiofeiio (brush tip)

:lioiio<liii lino cj3^ ^ (Director ot the Secre-
tariat)

;/' ^ (courtesy name)

BOOK AND TEXT TITLES

"Ai \\angsnn" (Alas, a prince!), by

Du Fu (712-770)
Daodcjiin; iJi^ll (Book of the Way and its

power), bv Laozi (ca. 6th century b.c.e.)
Doiii^liaii i]inolii ji M^i^^fk^ (Pure records

trom the cavern heaven), by Zhao Xigu

(ca. 117U-after 1242)
"Gantang" iET^S: (Sweet pear), poem Ih m

the Sliijiiig

Hiiaiioiiiiojiiio (Scripture ot the Inner

Ivadiances of the Yellow C^iurt)

*Jiude song" (Eulogv on the Virtue

of Wme), by Liu Ling (died after 265 c.e.)

"Lantmgji xu" (fj^-^ff' (Preface to the
Gathering at the Orchid Pavilit^n)

"Luoshen fu" j^t^lf K (Rhapsody, or prose-
poem, on the Goddess ot the Luo River)

(Jiiioiiicn lugao ^f"^jj%^^ (Notes on my
tra\els),by Shao Changheng (1 637- 1 71 14)

"Shengjiao xu"|g|^Ff' (Preface to the
sacred teachings)

Shcii'iiiiii tic IgHJljli (Holy Mother Manu-
script)

,S7//7//;sj g^l^fi (Classic of poetry)

ll(7).v/i?;; toiigkao ']>dtM^' (General history
ot institutions and critical examination ot
documents and studies), compiled by Ma
Duanhn (1254-1323)

"Yangsheng lun" ;^;^||fli (Treatise on nur-
turing lite)

Yijino ^1?^ (Book of changes)

"Yufu ge" (Fishermen songs), by

Zhang Zhihe (ca, 742-ca. 782)

BIBLIOGRAPHY

ABBREVIATION

WSKQS for ]]'ciiYiuinoc Si kit

qiuiiishii ,/m//:/7m// :3i:iifiizg/i

l:#l:-f ftJx (The Electronic
Version of Sihii quinislni [Wen-
Mi, ini^c ei.iinon|, professional
\crsioii 1. 1)). Ui3 discs. Hong
KonLi;: I )iL;ital Heritage Puh-
lislnng, I he Chinese University
i^ress, 1499.

CHINESE AND JAPANESE
SOURCES

Bada Shanreii jmianguan /\^

U-l Xvl1,E^ IB - ^ei. Bada Sliaimii
y''iiji'i '\-k\l-\ klJi^ (Studies
on liada Shanren). Nanchang:
jiangxi reniiiin cliiibanshe, 19!Sh.

Hal |iivi |z3 Je^ Bai fiiyi ji jiaii-
./'■'.' I'llgidllt^ (Collected
works ot Bai juyi. with notes
and \ariaiits). Edited b\' Zhii |in-
cheiig '\: ,f/ J"|j^. 'i w^ls. Shangliai:
Sh.mghai gu)! chubanshe. |9SS.

I5ai c;)ianshen 0 IHfp . "Bada
Slianien luiava 'Shiyousan \'tie'
k.iosin: tu Bad.i Shanren 'Yuii-
cluiaiig' ym xiaoji" ((Ay'vLLlA

TEff }+WHI!J #ff ■■ m
AkiUK imwi m^bM))

(Interpretation of Bada Shan-
ren's cipher-signature ■'Thir-
teenth month," wath some notes
on Bada Shanreii's seaT'Yun-
chuang"). Giiooiio wciiwii yiicLaii
ik'SyC'^^^R^ (National Pal-
ace Museum Monthly) 133
(April 1994): 120-31. Reprinted
111 Bada Sliaincii qiiaiiji
X.'^.'^ (Complete works ot
Bada Shanren). EciitecT by Wang
Zhaoweii i.|/5||f].Vol. 3. Nan-
chang: Jiangxi meishu chuban-
she. 2(HI0,

."Bada Shanren wei Yan

Kiioqu shu lian .\iaokao ]i qita "

^JJfi-g)) (A brief study of
Bada Shanren's couplet tor Yan

Ruoqii ,ind other matters). Gii-
^loiio iiriiii'ii yiirhiiii i'j.^'S'^f'^
n Fl| (National Palace Muse-
um Monthly) 109 (April 1992):
72-77.

."Cong Bada Shanren

liii 'Lanting xu' kin Mmgmo
Qingclui shuta zhong de Imshu
guannian" « 'i'l/\±lU A ^S, M

WuM^t.} (Bada Shanren -s
copies cit the Liiiiiiio mi and the
late-Mmg to earh'-Qing con-
cept ot tree copving). In Laiiiiiio
liiiili \m '','--m^k (Collection of
essays on the Civhid Pavilion).
Edited In Hiia Kende M ki§.
and Bai Qi.mshcn. Suzhou: Su-
zhoii d.ixue chubanshe, 2000.

. "MiniiKitsu Shinsho no

shoho 111 okeru itaiji shiyo no
fiicho 111 tsuite" mj^^'MW(D

C O I N T > (A study of
the tashion ot writing strange
ch,n,icters in late-Mmg to earlv-
Qiiig calligraphy). Slioioii
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. "Qingchii ]iiishixue de

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CONCORDANCE

ENTRY ACCESSION
NO. NO.

DESCRIPTION

PAGE NO.

1 F1998.53.1-.8 fnfftlil AMffi Lofiw, album of eight double leaves, ca. 1665

2 F1998.29.1-.12 (SUftSIf) +-Mfll} Smptuiv of tin' Iiinn Ra(1iaiiccs of thcYcllou' Coiirl, Ahum

of twelve leaves, 1684

3 F1998.58. 1-.2 T § Tb H ?f (T ^ f 4 H UMilllFl Lilac Floims and Calliornpliy in riiniiiiii^-airsii'c script, two album

leaves, 1690

4 F1998.48 ttS'J\MiI $iS i^cvfo; ,!;; J 5//) j// Biiik, hanging scroll, 1692

5 F1998.56.1-.4 fg^fE ^ ^ ^ MM. MWMm Falliin; Floim. Biiddiia's Hand Citron. HUnscns, and Lotus Pod.

four album leaves, 1692

6 F1998.28 Uf^$Mm'fli^i:Bi.^ iWfkff} FHfl' Excerpt from tlic ■'Preface to tlic Sacred Tcacliiiiff" in

riiiiiiiiio-staiidard script, album leaf. ca. 1693

7 F19'^W.27 f7!j:|l::?Eli|7K|iI Landscape afei Doiio\ iian. album leaf, ca. 1693

8 FI998.54.1-.15

9 F 1 998.45

10 F 1998.32

11 F1998.36

12 F1998.55.1-.6

13 F 1998.31

14 F 1998.35

15 F 1998.33

16 Fl 998.34

C IS PI ^tif. ) 'nffl} Coinliined Allnini of Paintiin; and Callii^rapliy: "Grievino for a Fallen Nation,'

album ot nine leaves, ca. l693-''()

■^It9-%M IS Lotus and Ducks, iianging scroll, ca. 1696

fTfllPlillii; (jS^MJS^S^Ff) mW Poew by HanYn in running-standard script, album
leaf, 1697

leaf 1 697

Poetu by Zeni^ Go/y in nuniino-standard script, double album

MMM:m ([Jra^"LL[7]c» Alflfffl- Album after Dong Qicliang's "Copies of Ancient Landscape
Paiinings," album of six leaves, ca. 1697

fT^^B^ iWaMMff'} MM Excerpt from "Prface to the Gathering at the Rirer" In running-staiidaid
script, album leaf, ca. 1697

album leaf ca. 1697

1^ Poem by Zhang jiuling in running-standard script.

hf^^WM (#lP^^f@4'^^S!il TRif » imi" Poem by Sun Ti in ruinnng-standard script,
album leaf ca. 1697

fTfU^tiffi (Klli$8li|7jcffill^if » UK Poem by Du Fn in running-standard script, album
leaf ca. I 697

30

38

42
44

46

50
52

53
66

68

70

74

80

82

84

86

ENTRY ACCESSION
NO. NO.

DESCRIPTION

PAGE NO.

17

18

19
20

21
22
23
24
25

26
27
28
29

FI'^*S.41

F 1 998.43

F I 998.49
F1998.4().l-.2()

F I 998.57
F 1 998.42
F 1998.51
F 1998.50
Fl 998.30. 1-.3

F1 998.40
F 1 998.47
FI9i),s.44.l-.4
F1998.52.1-.2

(«)1S^^S ^J\±lUkh-WWiCm^k g liuhhiiK^ of ihc "Holy Mother

Mdiiuscript," ii'illi Traiiscripnoii and Coloplioii in niiiiiiiii^-sidiuhini iiiipi, li.indscroll, l(i')S

30 F 1998. 39.1 -.2

31 F 1998.37

32 F I 998.38. 1-.2

33 F 1998.59

Poem by Sun 11 in innnin<^-it<vuidiil ii'iipt.

hanging scroll, ca. 1098 94

X/.^liI ttl C/ci/c/h;;.,' Ci/, hanging scroll. Ih99 96

firf^^ «S|i#^lfeiJ^» ttmim- copy of /in- '•H.ilJ'-SlcIc of Xinofn'lcnij'ic" in innnnisl-^landard

icripl, album of twenty leaves, 1099 98

[-1-1 4"^ H] i||t] Li;//(/.\u!j)(', hanging scroll, ca. 1 099 106

iMin'M^Wf} $fi Poem by Gcn!i]\'c) ill an^-nv script, hanging scroll, ca. 1998 108

Pc('/;/c.v hanging scroll, ca. 1099-1700 110

EtftlilHI /'Vir P///C-S .'\/c/(///,(///, hanging scn^ll, ca. 1099 112

f7^^[r])§-^ (^tW^Si^) 11111-^^1*11 Poem by Bdi jiiyi in inninii'^-cnisii'e iciipt . three album

leaves, 1700 116

tiSHnlH f'lll CeddrTree, Ddy Lily and ]]:,0dih. hanging scroll, 1700 120

Ifiilil 'tt Tico Gccic, hanging scroll, c.i. 171111 122

iT^WfUa^ laflllf Ponrldn'^ I'oenis in nuniiin^-iiirsii'e seript . four hanging scrolls, 1702-1703 126

^WJtM^^WWI^^^ UMIb) mWrnrnm Jdde Hdupm Blossoms mk\ li.xeeipt ftoni

the "Sequel to the liedtise on Cdllioidpliy" in eiirsii'e script, two .ilbum leax'es mounted ,is h.ingmg

scroll, ca. 1702 130

fT B'E S r] f't^w Couplet in i inniiin; sci ipt , p.iii" ot h.ingmg scrolls, IhOOs 134

ilMU^-MWM^ iP^XJ^nihil^M} mm Poem byVdii l-\,no ,n ininnno-.ionddid script.

album leaf ca. 1702 136

fT-^^SiTO^ jM [r] i^te flftHFHIjfi Copy of Two Letteis by Hiidiio Ddo:lioii in ninnino-ciiisire script,

two double album leaves, ca. 1702-1705 138

140

Ldiidscdpv dftei Ni Zdii, double .ilbum leaf, ca. 1703—1705

197

INDEX

Italicized page numbers lefer
to illustrations.

A

Alhiiiii iifrci Doiio 0/V/m//i^' !s "Copies of
Aiiiiiiii Loiiili:\ii<f l'(iiiiiiin;i"
(Bada Slianrcn),S,y, 74-79, 74,
15()-3lnn. 44-4S

All ShiteiiL;. 13(111. (i7

An Siyuan. Sic Elkwoi th, Robert
Hatfield

arehives. ot Bad.i Mi.iiireii. \ i

Autoliiooiopliy (Hiiaisii), iS'). l.3.Siin.
(A -hi

B

Bada Shanren

biograpliN' ot (b\ Shao

Chaiit;henL;), 3. fi3, l4.Sn. 33
as Buddhist monk, \ii,2, 14, IS
ealligr,ipli\

brushwork teehniques, \"i,

3-(>, 13Sn. 77
eoloplioii 111 runiiinL; seript,

3S. 3'^. S'»
and kmdse.ipc p.iiiitiiigs. 6 — 7
poems in runiiinL; seript. 58,
(>(l, (il

styles of, 13-22. 2(m, 21
copyinii (liii). 311, 'LS, I3(., I3S,
I44ii. 10. l(d-()2n. ')7.
1(12. l(,4ii. 1113
triendsliips in seeiiLu" soeiety,

2-3, lOn. 3
genealogy of. I. I On. 1
madness period. 3. lOnn. 7. 9,

23-24. 2(.n. 21. (>3
marriage of. 3-4. I On. II
names of 1-3. 23. ()4, I42n. 4
Chu.inqi (Buddhist name), 2,

Eight Eminenee Mountain
Man. I

F.ijue (Buddhist 11. line). 2. 23
Geshan (Buddlnst name). 2.
(i4

Lii (donkey; niekname), 3-4,

I4')ii. 37, I33n. 37
as a monk. 2. 3. 23, 30, I42n, I
Ren'an (Buddhist name), 2
SheshI (invoKx'd in affairs),
5-f., I On. U., 44,4(1,47,
49. 143n. 7
Xuege (Buddhist name, or
eourtesy name), 2, (14,
l4,Sn. 34. I4')n. 37
Zliu D.I (given name), I, (14,
l4Sii, 34

198

Zhu Tonglin (possible birth
name), 23, 2(in. IS
paintings

kindse.ipc p.iiiitings, 3 — 5,

6-7, 112
svmbolism and artistry of, vi
x'.ined siibjeets ot, 5
poetr\' ot, in running seript, 5S,
(lO

prineeK' origins ot. \'i. 1.3. lOii, I.

23. f.4.')S, l4Sn.34
seal ear\'iiigs ot
seals of 22-23, hS4-S5

LUil.i Slioiiicii. 44. (-)(->, 'M, 9().
100, lOS. I 1(1, I 1(). 120,
122. 120, 128. 134. 136,
IS4. /.V.i"
Boiliiio. 38. IS4
Clicilioii (eontrol madness),

23- 24. 24

I .line. 30. 33. /,S'-/

l-ii xuiii. 24. 2,1

Giii'iii (polygala and moxa

grasses). 24. 24. 8'). /,S'.i'
Hcfii (Wh.it promise did I

break"). 4
Hcyiutii. ')(., 1 10. 1 10. 120. 122.

12(1. 128. 130. 134. 136.

;3'3

Hii.rJiu. 43. /.S'4

Ki ill' shiii.yiiiii (iinmort,ilit\- is

aehie\able). 24, 2.i, 38.

08, 7(1, 80, 82. 84, 86, 89,

04, 100, 108. IS4. IS?
Lii (donkev).3. 4. 38. 112,

IS4. /,V.i"
Riii'iiii (B.ida's studio name),

24- 25, 2.1", 31-36. IS4
Sliiiii (mountain). 23, 42,

I53n. 5, IS4
Slicslii (involved ni affairs). 6,

6.47. 143n.7. /,S'.i"
Shi Cliiiiiiiiji yiii. 31, 32, 37,

/,S'4

Shiiii: 13(.. 138. 140. 1S5
slippcr-sh.ipcd seals. 2.i. 25,

2(111.20. 44. 40. 47.48.40.

50, 52-00. 68, 70. 74-80.

80. |)S. 112. I44ii. 11.

llrr,», (d

Xiihliiiiiliiiiii.yiiiiii, 38. IS4
Xijiiiii^; ) lyiiiii.; i/w;(t;.M///

(descendant of Prinee

Yivang),3, 23, 23
):io:liii. 58,66.70. 04. 00, OS.

loo. 108. I lo. 12(1. 122.

134. ;,S'3
/,.iilii. 44. IS4
Zililll iliiliiliiin;, 00, /i'.i

ZUcihliimo. 112, 126. 128. /,S'5
sign.itures ot, 182-83

e.uiiest recorded. 4. 18
studio name. 0

stud\' of Daoism, 18, 38. SH. 142n.
2. 153n. 55. 154nii. 58 — 03,
I02n. 00
/J,ii/,! u (Bada stvle name). 17
B.ii |ii\i (Bai -\i,ingsh,in), "Three
Friends ot the Northern
Window," 110. 117-1'). I58nn.
82-85

B.iihu.i (se.il text ot B.id.i Sh.mren),
38, IS4

Biiiiihoo, Roiki, and Siihill Binh (Bad.i

Shanren), hanging seroll, 5, 44,

43, 143nn.7-8
Baoyai. A'cWu Cheman
Barnhart. Richard M,. xvi. 23. 24
B.irr. A- W.. painting eolleetion, xv
Beidou (Northern Dipper), 16311.99
Beilin (Forest of Steles, Xi'an

Sh.i.iiixi I'rovmee). 154n.58,

15on. 07
Bei\'u,iii- See Dong Yuan
birds

Biiinhoo, Roihi, niiil .Siiiiill Binh.

hanging scroll, 5, 44, 43,

I43nn. 7-8
mill fii/i. scroll. 0, 9
< ici'sc aihl Rccili. h.inging scroll.

122

Loliii iiiiil Di/("/,'.\, h.inging scroll,
7, 7, 66, 67, 148-491111.
36-37

7ii'i) Gcc-H', hanging scroll, 122,
123-25. 159-(,(ln. 87
Boney. Alice (Shao Wangs god-
mother), .XI, XIV
brush and ink (hinio). xvi

/(//// (ever-changing, eccen-
tric, antic]ue), 7
brusliwDik technR|iies. ,So' iniilci cal-
ligraphy
Buddha's Hand Citioii (Bada

Shanren), album leat. 5. o. 40. 47

c

C3 C . Wang, xii, .\ri. x\ i-xvii

C'ahill. James, 3, 26n. 13

f.ii Yong, 100, I57n. 7(1

c.illigraphy

•ikin to music .ind d.iiu ing. 15
Bada Shanren's style. 13- |9, 2on.
21

B.iih li st\ le. 17
brushwork technic] ties

brush top/side ot brush
('■(■/"«), 5

centered-tip, 19
even-pressure, 19
fl\ mg w hite, 22
hidden-tip, 2 I

press-and-hft (li'aii). 14-15,
19

slanted ending. 1 4

vertical hue tip (:lioiiotcng), 5
epigraphical. 19-22
styles

great seal script. 21-22
regular senpt, 14
running senpt. 18—19
seal ,ind cleric. il script
Tang d\ n,ist\ st\ies. 13-14
.\iiiliiia (deline.ition ot the lUiiuH),
13

Calliyiiapliy (B.id.i Sh.inren). .ilbiim
leaf 5. 42. 42. 143iin. 5-0

Caiigzheii (liuddhist monk). Sec
Hii.iisu

Cao Boxun. collector seal. 130
Cao Zhi. 145n. 20
Caodong (Buddhist sect), 2. 14
cedar (tliiiii: C.cdicla siiivihis. jiiss.).

159n. So
Ccdai Ticc. Day Lily, ami W di'lails

(Bada Shanren). h.inging scroll,

12(1. 12L 1.59n. 8(,
ictciii^ (brtish top/side of brush), 5
CJicdiaii (control m.idness). seal te.xt

of Bacii Shanren. 23-24, 24
Chen BangNan, 15(ln, 42
Chen Ding, 3, 22

Chen family, B.id.i Sh.inren collec-
tion, 19

Chen Shun. 2

Chen TaiMie. 24

Chen Zi'ang, I45n. 19

Chenliu (Hen.in I'loxince). 142n-4

Cheng Qi. collector seals. 89, 146n.
23, 155n.o3

Chinese dynasties, chronology ot,
186

Chu Suiliang (C'hu Heiian)
calligraphic st\ie, IS. 10
"Preface to the Sacred

Teachings" iSlicin^iiao xii),
14. 15. 50. 50. l43-44nn.

ChiiaiH|i (B.id.i 's Buddhist name). See
iiiiilei B.id.i Sh.inren. ii.imes of

i7/i/// (cedar; ( 'ediela sinensis. Iiiss.).
I59n, SO

Chiinliiiin^e lie (calligraphy rubbings,

10th c.),.xv
Cien Temple (Temple ot

Conipassion.ite (Ir.ice), 143n. 10
Clear Springs Temple ((.1ing\ nan si),

156-57nn. 69-70

"Climbing Hooded Crane Tower"
(poem by Wang Zliihuan), 126,
127

collcctor seals. 5cc ihviu'i of iinliridiiiil

"Composed on Stopping tor the

Evening at Deer Gate

Mountain" (poem b\ Yan Fang),

\Mk l.r. l(,3-(i4nn, MHl- |(12
Confucianism, 3N, I4'^n. 38
Confucius, I.T3n. 33, I37n.7(l, IS^n.

S3, 163n. 101
"Congratulating PeiTmgyu on

Passing the Exams in Shu"

(poem by Li Bo), I2S, 13(1
Coiiplcl (B.kI.i Shanrcn), h.inging

scrolls, LU, h->2-(i3n,'W
crab apple (luiitiiin;: (Jliiu iioiiiclcs liigc-

ihiiia. or Milium iiilii^iiiiiiliL^).

137n.71

Cnih-. \i>i>lc / /ciros (Bada Shanrcn),
hanging scroll, 3 — 4, 4

Cioiiiliiiig Cm (Bada Sli.inrcn), hang-
ing scroll, 4(1, '^7, I33nn. ()3-6f)

D

Dafcngt.mg (Hall of Great Wind —
studio name ot Zhang Dacjian).
,SV(' uiiili'i Zhang Dat]ian. seals of

Dai Zhi, collector seals, 34-60,
143n. 17

Daizong (Tang dynasty emperor),
I37n, 70

/J,h> (theW.w),8S, 136, 132n. 53,
I53n. 35

DdOilcjiiio (Book ot the Wav and its
power), 153ii 33, l(i4ii. 104

Daoism. IS, 3S, SS, 142ii.2, 133n.33,
I54nii. 58 -()3, l62n. W, l()4n.
104

day lilv (xihiii: HcniciOiiilli^ Inlriil.
I32n. 52, 150n, S(,
Sec also Ccddi //('('. /).!)' L/7)', ,tiu1

]]'ilf}hvls

Daya (monk), 9S, 156n. 67
Deer Gate Mountain (Hubei
Pnnincc), 136, Hi3-(i4n.
100-102
Dezong (Tang d\ iiast\ emperor),

155n. 60
Dong Qich.mg, 154n. 30
calligraph\- master, 7, IS
"Copies ot Ancient Landscape
Paintings," S. 9, 74-79,74,
15()-5lnn. 44-48
/(/ the Slhidc (1/ Siiiiiiiici Ticci,

150-51i). 46
Lt'ili'c oj ilic liiiiiioritili tiiiioin; flic
Hilh aihl Siii'iiiih. 75

Rii'cr 1 7/Aii;c, 76

lliirc 1 1 ;>//.■> l Ibl/li,' Ill
noiigYu.in ( lien nan), 8, 52, 52,

144n. 12, 15011. 44
Honghu C.illigraphv and Painting

Society (IJoii'^liii iliiiliiui liiii). ').

lOn.23

1 )u Fu (Tang dvnast\' poet), S, S2,
152n. 53
"Ai wangsun" (Alas .i prince!),

14Sn. 34
"Seeing Oft Secretary Li the

Eighth." 30. 14611 24
"Song PI,i\'tulK' Inscribed on a
Landscipc P.unting by Wang
Zai," 8(), ,S'7, I33n. 56
Du Mu, I60n, SS

E. istern dynasty, calligraphy mas-

ters, 10

Eight Eminence Mount. iiii M.iii

(Bada Shanrcn), 1
Ellsworth, Robert Hatfield (Asrin .irt

dealer)

Chinese calligraphy collection.

XV

friendship \\ ith Wang Fang) u, \'i.
x-xi, xii; xiv-xv
Emperor Gao (Qi dynasty), I40n.21
Emperor Wu (Liang d\'nasty),

145-4(.n. 21
"Eulogx on the Virtue ot Wine"
( jiiiilc ioini) (Liu Ling), copy by
Bada Sh.inren, 17. 17, 130n. 83
exhibitions

on Bada Shanrcn, Yale Museum

of Art (I9y|).yii,.xyi
on Zhang Daqian, Sackler
Gallery (1001), xi

F

l\ijne (Bada's Buddhist name), 2, 23

F. ijue (seal text of Bada Shanrcn), 30,

33, IS4

F.ijue sin ChuaiK]i (sign.iture ot Li.ida

Shanreii), IS2
Fdllim; Floii'ci (B.id.i Sh.niren), ,ilbum

leaf 5, 46, 46
Fang Feng, 65, 14Sn. 35
faiigcao (fragrant grass), 24
Fengxm ( |i.ingxi Pro\incc), I
l iir I'iiict Mi'iiiii.nii (Bad.i Sh.mreii).

Iringing scroll, 112, 113-15,

I55n. 63, 158nn. 73-81
tlowers

Cc(/.ii lice, D,iy Lily. ,iml W iiglaih.
hanging scroll, 120, 121,

159n. 86

Ci'dh-Appic Flcii'ci\ h.inging

scroll, 3-4, -/
Fiilliiic Floirci. .ilbum lc.it, 5, 46,

46, 143n. 5
Floifcc Siiiilic\ album, 2. 2, lon

4, 13, 15
Floiirii, h.indscroll in Palace

Museum (Bei|ing), 16.

1(.-17

FIcii'cis tiiiil Bii4\ albiiiii, .t
H/■^l^<■;/.^, .ilbum leaf 3, 46, 4,S

jailc Hitiipill B/('.^.^C;)/.^, 130,

151-55, I6l-(i2nn. 03-08
Lil.ic Floircis, .ilbum leaf 5, 42,

45 . 143nn. 5-6
Lolih. album le.ives, 2. 2, 50-57,

30, 142n. 1
Lotiii ami Ducks, hanging scroll,

7, 7, (.6, 67, l4S-40nn.

36-37

Loliis Poil. album leaf 5, 40. 4')
Peonies, hanging scroll, 110. ///.
157-58nii. 71 -72
Foiii linn; I'ociiis (Bad.i Sh.inren).

hanging scrolls, I2(i, 127-20
Freer Galler\ of Art

Chinese calligraphy collection,
xy

Wang Fangvu B.ida Shanrcn col-
lection. \ 1 - Vlll, Xlll
Fu Shan, 20. 26n. 21
Fii xiiUi (seal text of Bad.i Sh.inren).
24, 25

G

X'tiiyii (stirred, or mox'ed, by experi-
ence), I45n. 10
GaoYoiig. 148-40n.3(.. 150n.S2
Gaozong (Tang d\ ii.ist\ emperor),
143n. 10

Gaozn (Tang dMiasty). I55ii. 00

Ge Hong, 154n. oo

Geese and Reeds (B.ida Sh.mren).

hanging scroll, 122
genealogy' of Bad.i Shanrcn, 1, lOn. 1
Ceng Wei, poem b\, 108, II)').

156-57nn. 60-70
Geshaii (Bada's Buddhist name), 2,

64

portrait by Huang Anpmg of, .v.y,
1-3

grasses

liiiiocthi (tVagrant grass), 24
(,'((( "ii/ (polygala and moxa), 24. 24
Criei'iiig foi ii Fidlcii Wiiioii (Bada
Shanrcn), album, 7, 55-65, 53,
l44-4Snn. 14-35
gii (bone), loin. OS

Guangwu (H.in d\'nasty emperor),
163n. 101

Giii'ai (polygala and moxa; seal text

of Bada Shanrcn), 24. 24
Guo Zongch.ing, 15on. 67

H

lidiliiiig (crab .ipple; (^Ihiciioiiielcs lage-
ihiiiii. or -Miiliis iiiicioiiiijliis),
157n. 71

"Halt-Stele ot Xingtu Temple," ccipy
b\- Bada Shanrcn, 08, 99-105,
15(inn. 67-68
1 I. ill d\ nasty

poetry, 157n. 71
seal stones, 24
I Ian Yu (Wengoiig), "Preface to
Seeing Ctt Li Yuan on His
Return to WindingValley"
(poem), 68, 69, 148-40nn.
3S-41
hanging scrolls, 2 1
liiio (poetic II, lines), 23, I43n. 6
h.Lnnoii\-, and He.ivenly Equality, 9
H.iy.ishi Heizc). collector seal. 65,

14811. 35
He Zheii (Ming se.il carver), 22
licUi (What proiinse did 1 break?).

se.il text of Bada Shanren.4
Hekou (Ri\ er Mouth) ( hangxi

Province). I47n. 30
1 leyiiaii

seal text ot B.ida Shanren. 06,
1 10, I 16, 120, 122, 126, 12S,
130, 134, 136
signature ot Bada Shanren, l6ln.
Of,, IS5

FFihisciis (Bada Shanren), album leaf,
5, 46, 4H

"Holy Mother M,iiuiscript"

(Slieiigiiiii lie) (Huaisii), rubbing
with tr.inscription .md colophon
bv Bad.i Shanren, 10. 88, S9-95,
1 54nii. 58 -()3

Flu Yit.ing, 2

Hii.iisu

Flic .-liiiohiociiipliy. 80. 155nii.
61 -(>3

"Holy Mother Manuscript"

iSlieiigiiiii lie). 19, SS, S9-95.
I54nn. 5S-03
F'lioitsiuid ClhiitU'ler Essiiy. SO,
1 55iin, 6 1 —63
Huang Aiiping, Poiiiail ot Gesliiin.

h.inging scroll, .v.v, 1 —3
Hu.ing Daozliou. 26n. 21

letters of 138. 159, l(,4im. 103-5
Huang Gongwang (Huang Zi|iu), 7,
8,77, 70, 150n.45. 151n.48

Huang Tingjian, IS

Scroll for Z/iii/(i; Daloiii;, 17, 17

Hiitiiigriiiojiiio (Scripture ot the Inner
Radiances of the Yellow Court),
copy by Bada Shanren, 4,
18-19,38,39--//, 142-43nn,
2-4

liiitiiio^liu (yellow bamboo), 61,

146-47n.26
Huangzhuvuan (Yellow Bamboo

Garden), (ill, 147n. 33
Hiitt:liciii^lii (Zhang Ceng), 1 12
HiiiTzlut (seal text of Bada Shanren),

43, IS4

Huu"cn (Buddhist monk), 1')
Hukoii (Lake Motith) (]iangxi

Provuice), I47n, 3(1
Hut for Eating Cdiicken Feet (Wang

Fangyu's studio name), xvi
Hut for Sleeping Alone and Waking

to Sing (Bada's studio name), 9

/// flic SIukIc of StitiiiiicrTri.x'i (Dong
Qichang), 150-51n, 46

"Inscribed at Clear Springs Temple"
(Ceng Wei), hanging scroll, KIS,
lO'K l56-57nn. (i4-7()

"Inscribed on a Landscape Foklmg
Screen" (poem by Zhang
Jiuhng),82, 8J, I52nn. 51-53

liiilc Hiiiipiii BlosiOiiis (Bada

Shanren), hanging scroll, 130,
161-62nn. 95-')S
jade hairpm tlower (yicitiilniii: f losta

sicholdiiiiia, or Hcbn; pldiirogiiicii,

Asclicrs), 161n. 95
Jiang Kui, "Sequel to the Treatise on

Calligraphy," 13(1, 131-33.

161 -(-)2n, 97
Jiang Zhaoshen, 24
Jiangxi Province, map of, .v/.v
Jiaoyuan (Jiao Plateau, Shandong

Province), 136, 163n. 101
/7c (stairs, steps, ranks), 145n. 19
Jiegang (Jiangxi Province), Lantern

Society, 2
Jieqing, 112

Jiliiig (wagtail; Moi,iiilla iliiiiciisis),

159n.86
jiii (sinew), 162n. 98
Jin dynasty, calligraphy masters, 65
Jill sliii (History of the jin dynasty),

15 In. 49-50
liiislii (advance scholar). 156n. 68.

16 In. 92-94

liiirhciiiwoiio liipiiuiiiiing (Inscription
on the Sweet Wine Spring in
tlie liiicheng Palace) (Ouyang
Xun), 14

jiiuic (Eulogy on the Virtue of
Wme) (Liu Ling),cop\' bv Bada
Shanren, //, 17, 15'^)n, 83

Jiuquan (Gansu Province), 89

K

Kaiyuan Temple (Jiang.xi Province),
61, 147n, 27

Kang ( |in dynastv emperor), 88

I\c lie ^licii.yiiiii (iminortalitN' is achiev-
able), seal text of Bad.i Sh.inren,
24, 25. 38, 68, 70, 80, 82, 84. 86,
89,94, 106, 108, 184. 185

Kezhai, 110, 157n.71

L

landscape paintings

Alhiiiii iiflci Dong Qiiliniig's

"Copies oj Aiideiir Landscape
Paiiitiiiff," 8, 9, 74 - 79. 74
Fire Piiic.s Motiiitaiii , hanging
scroll, 1 12, 113-15. 155n. (i3,
ISSnn. 73-81
Cricring foi a Fallon iWnion.
album, 7, 5.^-65, 53,
144-48nn. 14-35
LiindiCapo

fan painting (ca. 1705), 8. 8, 9
hanging scroll (1681), 3, 4
hanging scroll (ca, 1699),
106-7. 106
Landscape aflei Dono\'iian. .ilbLim

leaf .i2, 52, 144n. 12
Landscape after Ni Zaii. album
leaf 9, 140, I4L 164n, 106
"The Landscape Screen" (poem
by Zeng Gong), 70, 7/-7.^,
150nn. 42-43
Landscapes and Calliorapliy (Bada
Shanren), missing album, h
Lantern Society (Dengshe), 2
Lanting (Orchid Pavilion). 80, 151n,
49

Lanting xti (Preface to the Gathering
at the Orchid Pavilion), 151n.49
Laozi (Master Lao), 153n. 55
Ledderose, Lothar, 13
Li Bo, 161n. 93

"Congratulating PeiTingyu on
Passing the Exams in Shu"
(poem), 128, 130
Li Liiifu, l52-53nn, 54-55
Li Puquan, collector seals, 89, 112,
I55n. 63, 158n, 80

Li She, 16()n.8S

Li Sheng, 149n.41

Li Sixun, 152n. 54

Li Yuan (friend of H.m Yu). 68,

14')nn, 38-39
LiYuan (son of l\ Sheng, died 825),

149-5011.41
Liang Fen, 9

L//i7c Floti'ers (Bada Shanren). album

leaf 5. 42, 43
lilt (copying), 50. 98. 136. 138, 144n.

10, l6l-(-,2n. 97, 163n, 102,

164n. 103
Lin Xiongguang, collector seals, 89,

155n, 63

Liiilieii xti (Preface to the Gathering at

the River), 80, ,S7, 151nn. 49-50
liiili (e\'er-changing, eccentric,

and antique), 7
Liu Changqing, 16(lnn. 89-90

"Seeing Off a Buddhist Monk."
126. 126
Lui lull, L5 1 n 5(1

Liu Ling,"Eulogy on the Virtue ot
Wme" (Jitide song). 17. 17, 159n.
83

Liu Yiqing (Prince of Linchuan).

15 In. 50
Long Kebao, 3
Longyu, I47n. 3 1

Lotus (Bada Shanren), album, 2, 2,
30-37. 30, I42n. 1

Lotus and Ducks (Bada Shanren),
hanging scroll. 7, 7. 66, 67,
l48-49nn. 36-37

Lotus Pod (Bada Shanren). album
leaf 5. 46, 49

Loujiang (liangsu Province). 77

Lii (doiikev)

Bada's nickname, 3-4, I49n, 37,

153n,37
seal text ot LJada Shanren, 3, 4,
38, 112, IS4. 185

Lu Zhi. 1.42. 143n.6

Liiitian'an. i'cc Huaisu

Liiliang Gorge (Lii Bridge Gorge,
Jiangsu Province), 136, 163n. 101

Lumenshan (Deer Gate Mountain),
136, 163-64iin. 100-102

"Luoshen fu" (Rhapsody, or Prose-
poem, of the Goddess of the
Luo River) (poem by Cao Zlii),
145n, 20

liishi (poem ill regulated verse). 161n,
93

M

M.i 1 )u,iiilin, Ilc7;.v/i»( toiigFao. 138,
l(.4n. 105

K4aoshaii (]iangsu Province). I45n.2l

Mei Geng, 8
Mengjiao, 16ln. 92

"On Passing the Exams" (poem),
128, 129

Ml Fu (Northern Song seal carver),

2(in, 13
iniaotang. 1 53ii. 55
mimosa (Alhizzia jiilihrisseii). 152ii.

52

Mm Chin Society (Hong Kong), viii
Ming d\'iiast\-

calligr.iphv masters, 1,21

entfing in jiaslien. 9

fall of the, VI, 1.20

restoration promise. 23

seal car\'ing, 22
Ming Wu School, calligraphy

masters, 1, 2
Moism, 106. 157n, 7(1
Mount Cioulou, stele at. 20-21
Mount Hongya (Jiangxi Province),
13

Mount Tai (Taishan, Sli.indoiig

Province). U.3n. 99
Mozi (Master Mo), 157n. 7(1

N

Naito Torajir5, 53, 65, 144n. 14, 148n.
35

Nanchang ( |iangxi Province), .v/.v
Bada Shanren symposia, vii
Bada's home ot origin, 1, 156n.
68

Hoiigzhou, historical name tor,

145n. 18
Southern Capital, 163n, 99
National Palace Museum (Taipei)
Floii'ct Studies (calligraphy and
painting album, Bada
Shanren), 2, 2, lOn. 4, 13, 15
Taro Root (Bada Shanren), album
leaf 13. 14
Ni Zan (NiYu).7-9

Landscape after Ni Zan, 9, 140,
141, I(i4n. 106
Northern Song dynasty
calligraphy masters, 17
seal carving. 2hn. 13

o

"On Passing the Exams" (poem by
Meiigji.io), hanging scroll, 128,
129

Orchid P.ivilion (Lanting), 8( 1, 151n.
49

C^uyang Xun, 13-14, 18
Ouyuan (sotiriquet for Prince Su
Shaiiqi). See Shanqi. Prince Su

p

Palace Museum (lk'i]ing), I-lowcn

(Hada Mianicii), liandscroll
I'an luigslui. collector seals, ')(), I55n.

(id

Pang l^cgoiig (l^mg Clong). I(.3ii. HH
PeiTuigyu, Uilnn. '>j-'H
Pcoiiici (Bada Shanrcii), hanging

scroll, nil. ///, 137-5«nn. 71-72
peony (^luioyiio: I'licoiiiii ItUlilloia).

157n.71

Pine Tree (Bada Shanren), alhiini leaf,
5, 3

/'()(■;/( I'y liii ///)'/. .ilhuni leaws, 1 Id,

117- I''. l3Snn, ,S2-H3
IWiii hy Dii Fii. .ilhinn leaf, Sd, 87
I'oeiii hy ( ,eii'> W ei, hanging scroll,

KIS. Ill'/, 13(.-37nn. (,'t-70
Poem liy hliiiiMi. .ilbuni leaf, dS, 69.

14')-3(lnn. 3.S-4I
I'oeiii hy Sun Ti

alLxini leaf, S4, H5
hanging scroll, 12, 13, 'M, 'Ai,
133n, d4

Poem l'y\iiii PlIiio, .ilbum leaf, 13d,
/J7, Id3-64nn, 100-102

Poem hy Zeiio Com^, album leaves,
70, 71-73, 13onn, 42-43

Poem /i)' Zlioiio jiiilim;, album leat.
S2, ,S'.i, I32nn. 31-33

"Preface to Seeing Off Li Yuan on
His Return to Wmduig Vallev"
(poem b\' H.in Yu), albtun leat',
dS, 69, 14'»~30nn. 3H-41

"Preface to the Cl.ithernig at the
Riwr" (Wang Xizhi), .ilbiun
leaf, 80, SI, ISIn. 4')-30

"Preface to the S.icred Te.ichmgs"
(Slieinili,io Mil (C'hu Siuhang),
14, L\ IS
excerpt from (b\ Bad.i Shanren),
album leaf 711, 5(1,
l43-44nn. 10-11

I'rnizhorn. H.ins, 3

Q

Qi Baishi, xiv, xv, xvii
Qian Qi. IdOn. SS
Qnig d\ nast\'

and c.ilhgraphic works, vi, 20, 21

p, lintel's, 1 12
Qiu Lian,2,3, 13Sn.76
Qui Yuejn, 112, ISSn. 76
c]uince, .ilbum leaves. 10, I43n.6

R

rabbit (Bada Sli.uiren). .ilbiim leaf
/,S', 14

Rao Yupu. 3

Ren'an (Bada's Buddhist ii.imc .ind
seal text). 2. 24-23, 23, 31-36,
IH4

"RespecttulK h.irmonizing w ith the
Poem on llie Lond^npe Minol in
ilie Seem, II i, II h\ Minister of the
Right Li" (SunTi),S4, .S'3, 04,
'>3, 132-33nn. 34-33

r^icci, Matteo, on use ot seals, 22

Rong Qk]i, 1 3011. S3

Ruan Zhaii (courtesy name Qianli),
3S, 142-43n. 4

Ruisiii, lOd, I37n. 70

s

Siiipliiie of llie liiiiei H,hli,iiieei of the
\elloir ('onir. eopy b\ Bad.i
Shanren, 4, IS- |0, 3S,
142-43nn. 2-4
Siioll foi Zlhiiio Diiloii}; (Huang

Tmgjian), 17, 17
seal carving, 22-23, 2dn. 13
seals, collectcir

unidentitled, 30

Bito:lii otioydii, SO
Boxiiio ehiiin^iiitin, 7( 1
Cliiiii, 110

Ci (jihin iiiiioeoiio, 134
Diiio Boelnitin iifiiL\li,iiio -Innn;,
1 1 "*

GiiOilii ilieik\iiio, 1 34
Htiiijiii slieiuliiio, 3iS
HiioHiim; Qnoilii Baiyiin-

>liiim;iimi ii,iin\ni<;, 134
liin;i,iOiliiiirii, 134
Mi,ioii.\i,in{;\in , SO
■)//;'(// ;/i,» yiiizliiino, lOd
Siinytiii{;-luii iiiiit; jiihiii slinlnui,

112

.Sliizlioiio jihlii, 60

.V .V 011,111- liii, 33

.V .V Z/(Ji(a>/i/ slioiiiiiiio ^linliiiii

yiii, 122
.v-/(ii/ y,inlii, 100
Yini^tjiiiin iliene,in,^, 134
Yoiifihe ilii:lieii{;, 3S

')illlllll,l.\i,lll,'ll,lll >/u7/l////!,'. SO

\ nil ill. 71 1

Sec ii/iC ;/i»/(c> 0/ eolieetors
seals of Bad.i Shanren. 22-25
name se.ils, 23
phrase seals, 23-24
pictorial seals, 23
See iilio Bada Shanren, seals of
"Seeing Off a Buddhist Monk"

(poem by Liu Changqing), 126.
126

"Scc]uel to the Treatise on

Calligraphy" (by |iang Kui),
excerpts from, 130, IM-33,
Idl-d2n. 07

Sha Meiighai. 2dii. 13

Slum (mountain; seal text of B.ida
Shanren), 23, 42, I33ii. 3, l,S4

Shang dynasty, seal script, 22

Shangqmg (Highest Puritv; a school
oMiicdie\al 1 Maoism), SS, I42n.2

Sh.mluicliu.in (iie.ir Ningxiaii, east-
ern (i,insu ProMiice), 147n. 2S

Shancp, Prince Su, 33, 144-45n. 15

Shao Changheng (Shao Qmgmen),
3, o5, l4Sn. 33

Shao F. W.ing, \'i

Shaobo (Lord Shao), I37n. 71

ilhioyao (peony; Pteoiiiii Lieiilhvd).
157n.71

Shen Hui, .Sec i//)i/ci SumWai

Shell Shiyiii. viii

Shen Tong, collector seals. 80. 1 55n. 63
ShenTonglii, 157n. 71
Shen Ye, 24
Shen Zhou, 1, 2

Slieniiii,io xn (Preface to the Sacred
Teadiiiigs) (Ohu Sniliaiig), 14,
1.7, IS. |43-44nn. 10- 1 1

S//c/;a/)/i( lie (Holy Mother

Manuscript). ,Scr"Holy Mother
Manuscript ' iSliem'imi lie)
(Hu.iisii)

.SliOiln (to be inx'olved m ahairs). sig-
nature and seal text ot B.ida
Sh.iiireii, 5-0, Kill. lo. 44, 46,
47, 40, 143n.7

.S7// Cliiuiiuji yin (seal te.xt ot Bada
Shanren), 31, 32, 37, IS4

Sliitle (seal text ot Bada Shanren).
13d. I3S, 140, /X.i"

,S///;i// men (Stone l)runi

Inscriptions). Sec Stone Diiitn
lihei iptioih ,iit,l Stele ,11 .Mount
Goiiloii

Sliijiiif; (Cdassic ot poetr\"), I57n. 71.

lo3n. 101
■Sliiii:liilii (Hut for Eating Ohicken

Feet),xyi
Sec iilso iiiulei W.iiig Faiigyu, col-
lector seals
Sliiilnio xiiiyii (New account ot tales

of the world). 1 5 In. 50
Shitao (pnnce-p.iiiiter). 7
iliiihiiii ton,iyii,iit . d

signatures of Bada Sh.niivii. 182-83

earliest recorded. 4. IS
Sikii ,]ii,iii\liii (electnuiic version),
Mil. 142

slipper-sh.iped seals. Sec iimhi Bada

Sli.iiiren, seals of
"Song Pl.u tiilly Inscribed on a

Landscape Painting by Wang
Zai" (poem by Du Fu), 86, 87,
I53n.56

Southern School, master landscape
painters. 7, 8, lOn. IS, 144n. 12,
I50n. 44
Spring and Atuiimn Perioci, seal

carymg and, 22
The .'^prim's ,iiiil .Aitltmiih c/ .\l,iitcr

Li I. \y\
steles, rubbings ot

and calligraphy, 7, 20

half-stele of Xingtii Temple, OS,

99-1117. 156nii. 07-68
at Mount CtOuIou, 20
Stone Diiim lihciiptioih ,111, 1 Stele ,it
.Moiiiii ( , onion. CLip\ h\ Bada
Shanren, 21). 20-21
Stoner, Frank (art dealer), xiv
Sum Wai (Wang Fang\'ii's wafe)
B.ida Shanren collection, vii
collector seals

F,iii'i Hiii f;om;ilii . 04

Fitiio Hiii iyn,.;ilt,in[;. 60,06,

loo, 108, 120. 122
S7/c/( Pint. 38. 42. 43, 50. 52,
OS, 70, 74 - 80, 82, 84, Sd,
SO, 130, 138, 140
death of, xn

marriage to Wang Fang\ u, xn. xv

photo ot, ir
Sun Ti, poems by, 12. 13, 84, iS'.i, 04,
'/7, 152 — 53nn. 54 — 33, 135ii, ()4
Suo |ing (SuoYou'an), 155n.6l
symposia, on Bacia Shanren, vii

Taishan (Mount Tai, Sh.indong

Province), Id3n. 'I'l
Taniian (Shaiixi Pro\ance), I54n. 57
Taizong (Tang dynasty emperor),

130, 143-44n. 10. lf)2n. OS
T.ing dynasty

calligraphy masters, 13—15
Nine Sage Emperors. 88
poetry I2d. 127-2'', IdO-dlnn.
88-04

Tang Yunsong. colophon in staiid.ird

script. OS. I5dn. dS
Tao Hongjiiig. l43-4dii.21
Tao Qian. 147n. 20, I50n. S3
Tlioth,iiiil Cluihk'iei (Huaisii),

80. I55nn. 61-63
"Three Friends of the Northern

Window"" (poem by Bai Juyi),

116, 117-10, ISSnn. 82-85
T/(icc W'oihs ,iliei n,'i/y Xi:lii (Dong

Qichang), 16

ri\vi (press-.md-lift hnisliwxirk),

14-15, I')
liiiiiiliio (way ot iiatua-), xii
lli'o < jCcsc (B.ida Shanrcn), han!j;ing

scroll, 122, 123-2?. l,S')-6()n. S7
Two Wanys. SccWaiii; XiaiizliKWaiiL;

Xizlu

wagtail (jiliiio: Molii:HI,i rliiiiciL^i.^),
I5')n. Hd
Set' ij/.so Ccdai Ticc, Dtty Lily, tiiul
1 1 'iiorail^
Wan- Can, 157n.7()
Wan- fhon- (Y.iyi Sh.inivn), 136,

l(i3n. 102
Wan- Duo, 2(.n.21
Wan- Fan-v'u

ai'.idfinic career, .\, .xvi
Bada Mianren collection,

.\n-.\in
birth ot, X

Chinese calli-raphv and, xi, xii,

xvii
collector seals

Fiiiio Hill ooih^dii, ''4

Fii;;i; Hiii i^oinislhiii\;, 66, '^^6,

Hl6, HIS, 12(1, 122
P^iiioyii. 3S, 7'), S'l. 13(1, 13W
Sliijidnhi. 37, 44, 46, (,(l, 1 1(1,

112, IK., 126, 134, 136
n;/».<; F.»/i,.)'ii. 42, 43, 52, 13,s,
14(1

death ot, x\'ii
friendships

with C. C Wan-, xii,.vi'i,

XVI — X\ll

w ith Robert Ellsworth, \ i,

X — XI, .v/r, xi\' — x\'
with Zhan- lXiqian,.v/, xi
marriage to Sum Wai, xii, xv
retirement years, xii
Wang jm, I57n.7(l
Wang jicjian. Sec C. C. Wan-
Wan- Meng (309-347 c.e.), 162n. 9S
Wang Meng (ca. 13().S- I3S5), 7, 130
Wang Mian, 26n. 13
Wang Ron-, 142n.4
Wang Shiqmg, viii
Wang Wei, I57n. (->'-)-70
Wang Wenxin, collector seals, 1 12,
IS.Sii. <S1

Wan- Xianzhi, 19, 3S, 142n. 4, 156n.
6«

Wang Xizhai, 59, 146n. 24
Wan- Xizhi, 16, 19, 3H, 9H, I42nn. 2,
4, 156n. 67-6,S

"I'retace to the Gathering at the
River," 80, 81. I5ln. 49-50

storv of the geese, I64n. 104
Wang Yuan, S
Wang Zai, S6, 154n. 57
Weill- Zhihuan, "Cdinibm- Hooded

Crane Tower"" (poem), 12(), /27,

160-(iln. 'M
Wang Zhongsi, 14'»n. 41
Wang Zitao, collector seal, 74, 75, 77
i/'.»(i;.si»/ (princelv descendant), 24
W.inshaii (Shining Mill) (Anhui

l'ro\ ince), 147n. 32
Warring States Period, calligraphic

styles during, 21, 22
Watt, James. 23
Wen C. Fong, 19
Wen Peng, 24
Wen Tianxian-
Wen Zhengming, 1
Weiiqing (.irt colleLtor), 53, 64,

145n. 15, 14S11. 34
llci/.NM/; loiioLiio (Ceiier.il historv ot

institutions ,iikI critical exami-
nation ot documents and stuct-

les), I3S, l(,4n. 105
1 1 <7/)'((ii/(ac SiLii qihiihlui ilitiii:ihtin

(Electronic \ ersioii of .S'lX'ii ijii,iii-

sliii). viii. 142
Western lin d\ nastv calligraph\' m.is-

ters, 17

Wordsworth, William, t|UOted, 3
Wozhoush.in (Fertile Isles Mount.iin,

Zhejiang Pnn ince), l60n. 4(1
Wu Changshuo (Wu lunqing)

colophon in running script, 64,
145n, 15, 14(.n, 22, 147-4Sn.
34, 149nn. 3(>-37
poem in running script. 66
Wu Chemaii (B.iowu). 5S. 14(inii-

22.24, I47n,33
Wu Flufan, collector seals, 96, 155n.
66

Wu Junqing. ,SccWu Changshuo
Wu Siqi, 65, 14,Sn, 35
Wu Zctian (empress). 145n. 1''. 155n.
()0

Wu Zhen, 7

1 1 in;c idotaiig (F^ut for Sleeping
Alone and Waking to Sing), 9

X

\i Rang, 152n. 52

Xi Shi, I46n. 25

.Xiao n.iocheng, 146n 21

,\i,ui Shi, 147ii. 31

XiaoYan (Enipenir Wu). 145-46ii.

21, 162n. 9S
-Xiao Zivun, 13(1, 16 In. 97
Xiaobao.

.\iii^liiiiii>iciii\ii.iii (seal text ot Bada

Shanren), 38, 184
xic (slanting, leaning, tilted, oblique,

sidewa\s), I45n, 19
Xie Ao, 65, 14Hii. 35
Xieje (Guangzhou Province), 145ii. IH
.\7;'i7/((; V;)'(»/a mm/;i,'.mi/i (descendant of

Prince Yiv.mg), 3, 23. 23
Xingfu Temple, halt-stele of 9,S,

9'-)~li)5. 15(11111. 67-68
.\iiiliua (dcline.ition ot the mind), 13
.Xinjian (modern N.inchang). ,Scc

Nanch.ing
Xiw angmu (Queen Mother of the

West), l53-54n. 57
.\'(/ iliupii (Sequel to the treatise on

calligraph\) (by hang Kui), 130,

lM-33. I6l-(,2n.97
.XuWei.2
Xu Yan, l(.2n. 98
Xu Yan Wang, 130, l62n. 6S
.vi/i»; (da\' liK'; I li'iiicioitillii liili\i).

152n. 52. 15'in, 8(.
.Xnanzai. Sec l^ong Qichaiig
Xuanzang. 50, 143n. 10
Xu.inzong (Tang dynasty emperor),

152n, 54

.Xuege (Snow \ One: Bada s Buddhist
name), 2, 64, 148n. 34, 140n. 37

Xujiang (ri\er in eastern |iangxi
Province), 6,s

.\un Yu. S4. 64, I53ii.55

Y

Yan Fang, poem by, 136, 137,

l63-64nn. 100- 102
Yan Shengbo. collector seals, 66
Yang (Sui d\ iiast\- emperor), SS
Yang Chuiihii.i. SO. 155n. 62
yniii^ hiidin; (feigned madness), 24
Yang Xian (Miaoweng), 64, 148n. 34
Yangzhoii (|iangsu Province), 154n.

58. l5Sn, 71
Yaozhu (seal text of Bada Shanren).

58. 66, 70, 94, 96, 98, 106, 108,

116, 120, 122, 134, 185
yaozi fdiislicii (sparrow-hawk tlipping

over), 147n. 27
Yavi Shanren. NicWang Chong
Ye Dehui

colophon in standard script, 112,

1581111. 74, 79
( jiiiiiiliiiii luiiyoin;, 158iin. 74,77
Yi (Mmg iK iiast\ prince), ''S
Vi'/Vi/a (Book ot\hanges), I53n. 55
Yin-xue F4on-min, 2
yoiigyoiig (striped fish), 147n. 28
Youquan (modern Jiaxing, Zhejiang

Province), 145n. 18
yoii.yiiiiK^ (Minister of the Right),

152n. 54

Yuan d\ n.istv master painters, 7, l(Jn.
19

Yue C;uang. 84,94, 153n.55
Yue\ang (F-lunan Province). 154n. 57
\'iitii (Fishermen songs) (poem by
Zhang Zhihe),61, 147n, 28

Z

Z,ii/ii (seal text of Bada Sh.inren), 44,
IS4

Ziiitii ilitiiiliiin; (seal text ot B.ida

Shanren), 66, 183
Zeng Gong. "The Landscape
Screen"" (poem). 70. 7/- 7.-!,
I50nn. 42-43
Zhang Can, collector seal, 30
Zhang 1 ).iqi.iii

li.id.i Sh.inren collection, xvi,

l(.3-(>4ii, 102
on Bada Shanren p,iiiitin-s, 158n.
72

calligraphv and painting of

colophon 111 running script,
44,79, 143n.8, 15lii.48
outside label in ruiiiiiiig
script, 3iK 1 12, 120, 122
friendship w ith Wang F,iiig\'u, .vi,

XI

photo with Wang Faiigvu, .v/
Sackler Ciallery exhibition

(I'Wl). XI
se.ils of 146n. 23

Biolii loiiiiyi. 44, 48, 77, 108,
110, 112. 120. 122. 130

B(i/(( (.'Kic;; ail(i hoiiirii. 108,
12(1, 128

Ovig :lii daqiau. 47, 48, 78, 84

Dafeii^taiig (Hall of Great
Wind), 32, (.5, (>8, 70,
122, 126, 13(., 15811.73

Diilciiiiiiiiig iliiiii<.;irii. 128

Diiliiiortiiio li.iiiihiiiy Kiiiiiiiii
Xiicoc Kin;iiii inoyuaii. 44,
46,66,76,96, 108, 110,
112, 116, 120, 122, 130

Dafviiouino :liciiciiii\; yiii. 66,96

Dofcin^tdin; zlii'ini'iiii . 138

Daqiaii. 30, 77. 70

Daqiiin In. 44

Daqiiiii liiioiiicii''. 49. 7(1. 126
Daqiaii jiiilii. 75. SO, OS, 116
Daqum xi. YK I io
Daquiii yi'iiiiiii. 1 2S, 1 3t •
/),i,//,ii/ :lii luio. 82, 126
/J/Ci/e ;///_/((. 44, 1 Ki, 120
Doin;.\i ihiiihci 'III nil, 44
jii'lioii yilioii .Mill i/c, 32. 12(1.
122

Jiyihiii, 80

Wiiihi i i/ii/;;i.v/ ;/(/ yon .VM//>,'>///
iiv hii li. 44, 47, >)(.,
120, 122, I, ill

Xiyiii, (.11

Qm;/ (/(JO. 44

Q/j^/i/f// ynnit,

(Jiiilii Ihii' •^iiinii 44, (i6,

liis. 1 10, 120, 122, I,i0

SitlliJIilll ll:h]i,lll. I Id

Zllllll'^ l),Jlji:lll t'll,liH'llillll (lilji

yon nil, .SS, 1 12
Zli.iiio) noii. 30, 4<), 4'), 74, 77,

7'), OS, 110
ZliiUio\ noil Lluiin;slion , 5'>
Zlioiio ) non 44, 00

Zhang Datong, 17

Zhang Geng (Zhang Pushan),

(jiioiluio /;/(i/:/(i//s,'/(/, 1 12, l.SlSn. 75
Zhang hnhng, pucni b\', S2, 83,

I ,S2nn. ,T 1 -,S3
Zhang Shanzi, tDllector seals, LSSn, 72
Hmlii xiiislhim;, OS, 70
Sluiii'i iliiiiiliiio. 1 2S
.Sliiiii:i xiihlifiin;, 110, 120
Zhang Wci, collector seals, I 10
Zhang Yue, 16()n, 88
Zhang Zhi (Zhang Youdao), 89,
1 5?in. 0 1

Zhang Zhihe, )iilii {;c (Fishermen

songs), o I, 147n. 28
Zhao Han, 1 50n. 07

Zhao Mengfu, 8
Zhao Xigu

Zhenshang, .Sec iiihloi B.rI.i Mianren,

seals ot
Zhldiin, lOOn. 00
•lioiiofcii}; (tine-tip briishwork), 5
Zhon dynasty

poetry, 157n. 7 I

seal script, 22
ZhoLi Miiwang (King Mii ot Zhou),

14o-47n. 2(.
Zhou Zhiniian, I

Zhu Da (Bada's given name), 1,64,
14Sii. 34

Zhu IHiozheng (Bada's grandfather),

1. 22

Zhu Moujin (Bada's father), I
Zhu Quan (Ming dynasty prince), I
Zhu Shcngzliai, collector seal, l3o
ZhuTonglin (Bada's possible birth

name), 23, 20n. IS
Zhu Yizun, collector seals, 80, 155n.

03

Zhu Yoiiben, I50ii, 08
Zhuang Zhou, Sec Zhuangzi
Zhuangzi (Master Zhuang), 0, UOn.

37, 152n, 52
;/ (style names), 23
Zong Bing, I52n. 53

Authors

JOSEPH CHANG, associate curator of Chinese art at the
Freer Gallery of Art and Arthur M. Sackler Gallery,
Smithsonian Institution, received his bachelor's degree in
Chinese literature in 1978 from the Fu Jen Catholic University
in Taiwan, and his Ph.D. in 1995 from the University of
Kansas. He is a specialist in Chinese painting and is coauthor
of Bmshinq the Past: Later Chinese Calligraphy from the Gift of
Robert Hatfield Ellsworth (Freer Gallery of Art, 2000). He has
curated numerous exhibitions for the museums, including two
Bada Shanren exhibitions in 2003. From the late 1980s
through the mid-1990s. Dr. Chang was a research associate for
exhibitions at the Metropohtan Museum of Art in New York
and the Nelson-Atkins Museum of Art in Kansas.

QIANSHEN BAI was born in the Peoples Republic of China
and obtained his bachelors degree from Beijing University in
1982. He came to the United States in 1986 to pursue
advanced degrees, earning his masters degree in comparative
politics from Rutgers University in 1990 and his Ph.D. in art
history from Yale University in 1996. From 1999 to 2000 he
was a Paul Getty Postdoctoral Fellow in the History of Art
and the Humanities at the Getty Foundation, California.
Currently, Dr. Bai is assistant professor of Chinese art at
Boston University.

Qianshen Bai s calligraphic works have been displayed at
many Chinese and international calligraphy exhibitions, and
he is a frequent contributor to academic journals in China,
Taiwan, Hong Kong, Japan, the United States, and Great
Britain. He is the author of Fh Shan 's World. The Transformation
of Chinese Calligraphy in the 17th Century (Harvard University
Asia Center, 2003).

STEPHEN D. ALLEE is research specialist in Chinese litera-
ture and history in the department of Chinese painting and
calligraphy at the Freer Gallery of Art and the Arthur M.
Sackler Gallery, Smithsonian Institution. In 1975 he received
his bachelor's degree in Chinese language and Hterature from
George Washmgton University, Washington, DC. Selected as a
fellow by the Committee for Scholarly Communication with
the People's RepubUc of China, he was among the first eight
graduate students from the United States to study in the
People's Republic of China. After receiving his master's
degree from the University of Washington in 1986, he joined
the Freer and Sackler galleries in 1988. Since then, he has
curated many exhibitions at the museums, and his research
and translations from the C'hinese have appeared in numerous
publications, including Brushing the Past: Later Chinese
Calligrapiiy from the Cifl of Robert Hatfield Lllsworth.

i'nnted iii China